Before dissecting the story to find out its technical merits/demerits, one needs to understand the plot and the bricks of its structure. This is the story of the post-internet revolution era and one needs to possess computer-skills to move along with the growth of this story. Achieving success in a commercial or business organization has something to do with your merit, but not everything. You need to be wise and also otherwise! That’s what Tess McGill feels in the opening Scenes of “Working Girl.
” Tess is industrious and ambitious, and she has many ideas in her bower as to how to make money in big leagues of high finance. But with her child-like appearance and talk, even though she is 30, she fails to prove that she has the store-house of serious ideas that can take someone to the top rung of the success ladder. But for the present, nobody takes her brain-waves seriously—is it really so? Destiny plays its part, Tess gets a new job. She has the new boss in the mergers and acquisition department of a Wall Street firm. The boss (Sigourney Weave) and Tess have nothing in common except age. She is also 30.
She doesn’t have the crop of hair which Tess has, they are serious ones (perhaps out of the deep thinking on business issues), she talks in a soft, modulated voice, (makes the judicious use of her vocal chords), and her apparel is businesslike. Her overall personality sets Tess thinking, and she makes the noting about her hair (the first thing that any woman would do) and regrets why she doesn’t possess serious hair. Tess has no professional problems with her boss, (except that of her position in the office—Tess is the Secretary and the boss speaks less). Destiny plays its part for the second time, this time favorably disposed to Tess.
The boss goes on a skiing holiday and promptly breaks her leg necessitating remaining in traction for six weeks. That gives Tess an opportunity to know more about the boss. Now she understands the secret of her serious hair, the boss has clandestinely stored one of the brilliant ideas of Tess and has plans to claim the copyright of it. Tess goes wild. The latent dramatic skills of Tess come to the fore; she masquerades as an executive of the firm. She meets Jack Trainer (Harrison Ford), who at the other Firm, puts through the business deal. Now the other part of the business begins.
She meets him at a party, gets drunk, and goes to bed with him. Tess proclaims: “I have a head for business, and a body for sin… is there anything wrong with that? ” Astonished, Jack quips “No… I didn’t know they let bad girls into these things. ” Trainer takes the perfect turn, fascinated by her body and brilliance; he takes the fake executive seriously. The set up, circumstances and cut-throat competition prevailing in the commercial world of the modern materialistic civilization make Tess to sincerely question that the path to success is full of desperate hurdles and aren’t desperate remedies the only answers to hop over them?
What is Mis-En-Scene? Mis-En-Scene is what you put into a scene. A perfect scene is the combination of so many things and factors. Any sun-rise is a perfect scene because it has the elements that make a perfect sun-rise. The sun-set is also a perfect scene because it has the elements that make the perfect sunset. You feel a sense of satisfaction by seeing the perfect scene, whatever is the place or situation. The skills of the Director are put to the ultimate test. Either he creates a perfect scene, or becomes the laughing stock of the audience.
Mis-En-Scene, generally comprises of the following: Choice of Lighting, “Texture and Colors”, Use of Space, Make-Up, Costumes, “Interiors” Used to Convey Meaning. The visual image that you see on the screen is the direct outcome of the influence of style on compositional strategies. A critic’s analysis depends much on these factors. Two-dimensional framing, design and composition also affect the moving image. Three dimensional issues like open and closed forms, proxemic patterns, and territorial space are also used intensively and extensively.