Taking the concept of "fake it till you make it" to late 80's Wall Street rom-com territory, director Mike Nichols elevates Kevin Wade's script with good photography, excellent casting, and a legendary theme song. That song, Carly Simon's "Let the River Run" (one of two that have ever won an Oscar, Golden Globe, and Grammy for a song written, composed and performed by a single artist), soundtracks a triumphant opening aerial shot of the Statue of Liberty, immediately establishing a familiar and exciting setting, while temporarily offering a visual alternative to the actual skyscrapers of the Financial District. It's an optimistic vibe for the Big Apple in the 1980's.

Constantly objectified and underestimated, Tess (Melanie Griffith) is running out of job options that won't end with boorish behavior or sexual harrassment. Each day sees her leave the high-powered world of Wall Street on a ferry to return to the few close people in her working-class life, which mostly consist of her good friend Cynthia (Joan Cusack) and her less-than-great boyfriend Mick (Alec Baldwin). A new assistant/secretarial job at a different firm seems like a good fit at first. Her ideas and input aren't immediately dismissed by new boss Katharine (Sigourney Weaver), and Tess quickly finds a risky opportunity in front of her that could utilize her smarts and ambition in a way she's never experienced. Though it's not until over thirty minutes has passed, Jack (Harrison Ford) enters the picture and seriously complicates Tess' plans and life in general.

Melanie Griffith is fantastic, garnering her one and only Oscar nomination for Best Actress, and the script features some great scenes with her and Harrison Ford, who effortlessly manages to make his character Jack both charming and improbably handsome. The film is funny, but not reliant on jokes. The inherent feminism in the story is a strong component, although it would be interesting to see the kind of film Working Girl would be if it were actually written by a female screenwriter. As is, it's a satisfying and spirited tale of frustrating inequity, timely chutzpah, and a desire for the status-quo to continue to evolve.