'Working Girl' (1988): An Exploration into Gender, Class, and Power.

“Working Girl," directed by Mike Nichols and released in 1988, is a rom-com starring Sigourney Weaver, Melanie Griffith and Harrison Ford. Following Griffith as Tess, an ambitious young secretary, aspiring to become a successful businesswoman. When her boss Katharine Parker (Sigourney Weaver) gets injured during a skiing accident, she takes advantage of the opportunity to make headway in her career.

Working Girl is one of my favourite movies of all time - no, not just because of the swoon-worthy Harrison Ford and the massive poster of it over my bed - but also because of the rich commentary it provides on the societal structures and cultural norms of the 1980s, many of which remain relevant today.

For a 1988 rom-com, Working Girl does a great job of exploring various sociological aspects through the story of Tess McGill, a working-class woman who navigates the corporate world. Shown to be a “commuting career woman” she travels to New York by ferry, wearing sneakers and carrying heels in hand with her best friend Cyn. Their big hairspray-loaded hair and sharp colourful make-up immediately separate them from the more elegant New Yorkers upon their arrival in Manhattan – our first signals of the representation of a cultural divide among the classes. This is pointed towards again when Tess says she has speech class – presumably owing to her Brooklyn accent, to which Cyn responds “You twalk fine!”

The film follows Tess being mistreated in her professional endeavours, with her colleagues and bosses completely overlooking her talent and subjecting her to harassment. Telling her there was an opportunity for her to be the secretary of businessman Bob Speck, played by Kevin Spacey (oops!), they set her up for an “interview” with him. Which of course, turns out to be him harassing her in the back of his limo while snorting cocaine. In her rage, Tess gets her boss back for it with a brave move, embarrassing him on the Stock Trader Displays. However, that ends up getting her fired. These scenes are crucial in highlighting the gender dynamics and challenges women face in a male-dominated corporate environment. But also drive attention to the character of Tess and how she isn’t afraid to voice her no-nonsense attitude and stand up for herself – breaking the convention of a timid woman.

“Tess, Tess, Tess, you don’t get ahead in the world by calling your boss a pimp.”

“Well, he is. “

The story really begins when Tess finds herself working for Katharine Parker. As she enters the office, something interesting catches our eye – not a man in sight – except one in the background who brings snacks. This is a clear contrast to Tess’s previous experiences in male-dominated offices highlighting how the film challenges traditional gender roles since there the entire bullpen is women, and even her boss, Parker, is an elegant woman. The focus shifts towards this woman of authority who can do anything a man can. Being well educated, successful, speaks multiple languages as well as having a great reputation (“Did you tell them it was Parker?”)  and can play cunning tricks like her male business counterparts. Tess's relationship with Parker exemplifies power imbalances and the exploitation of lower-level employees as she makes her do tasks like buckling her ski shoes and collecting her laundry, she occasionally offers Tess words of wisdom, posing as a mentor and encouraging her to share her ideas:

“Tess, you don’t get anything from this world by waiting for it to come to you.”

However, Parker is established as the villain when Tess presents her with an idea to purchase a radio network by Trask Industries and she dismisses it, telling Tess it will not work out. Later, Parker breaks her leg skiing and asks Tess to house-sit, where she discovers through Parker’s meeting notes that she stole her idea, passing it off as her own.

Tess then decides to use Katharine's office and connections to present herself as an executive and move forward with the Trask merger. She schedules a meeting with Jack Trainer (Harrison Ford), a mergers and acquisitions associate from another company. The night before, Tess asks Cyn to cut her hair to look more professional as they go through Parker’s closet and freak out at the price tags. This highlights the contrast between Tess's modest lifestyle and the affluent world of corporate executives underscoring issues of social mobility and economic disparity. It marks the beginning of Tess’s transformation in her physical appearance and mannerisms, reflecting the importance of self-presentation and conformity in achieving success and examining how individuals adapt their identities to fit into different social and professional environments.

The protagonist and antagonist are both established, a woman after a woman. Then the man, Jack Trainer, enters the frame. He is in a relationship with Parker but intends to cut it off as soon as she comes back from her ski trip, harbouring no more feelings for her. Initially, he meets Tess under mistaken circumstances, but throughout the film, Jack becomes a crucial ally and partner to Tess. As he learns more about her ambitions and intelligence, he becomes supportive of her efforts to break through the corporate glass ceiling. He respects her ideas and collaborates with her on a major business deal.

Jack Trainer also serves as the romantic interest for Tess. Their relationship develops naturally as they work together on a business project. Unlike other characters who underestimate or undermine Tess, Jack sees her potential and treats her as an equal. He balances the cutthroat and deceptive practices of other characters in the film, particularly Katharine Parker with his ethical stance. The biggest example of this is when at the climax, Jack refuses to take Parker’s side and attests that the merger was Tess’s idea. Therefore the character of Jack also breaks the conventions of the portrayals of a successful man in the corporate world with his character being the side-kick to Tess. 

“I’m telling you, she’s your man.”

Working Girl is a film often viewed through a feminist lens, as it showcases Tess’s determination to succeed and journey of empowerment, where she learns to trust her instincts, declare her ideas, claim her space, and assert her place in a male-dominated industry, showing her ability to both blend in and stand out to succeed in the cutthroat corporate world.

In conclusion, "Working Girl" serves as a poignant exploration of sociological themes that resonate deeply with issues of gender, class, and power dynamics in the corporate world. Through Tess McGill's journey, the film sheds light on the pervasive gender roles and stereotypes, the stark class struggle, and the intricate workplace politics that define professional life. It underscores the importance of identity, self-presentation, and the acquisition of cultural capital, while also highlighting the critical roles of networking and mentorship. Ultimately, "Working Girl" is a story of feminism and empowerment, illustrating the challenges and triumphs of a working-class woman striving to break through societal barriers and assert her place in a predominantly male environment. Its themes remain pertinent, offering valuable insights into the enduring complexities of social mobility and equality.