BODY DOUBLE
1984, Sony Repertory, 114 min, Dir: Brian de Palma

Director Brian De Palma has always openly expressed his admiration for Hitchcock and has used various tropes common to the master in a number of his pictures. This is one of his most jaw-dropping, melding influences from REAR WINDOW and VERTIGO as well as giving a vigorous nod to the delirium of 1970s Italian giallo shockers. When a claustrophobic and cuckolded actor (Craig Wasson) finds himself suddenly homeless, he house-sits for a theater workshop acquaintance (Gregg Henry). But he finds himself going from the frying pan into the fire after witnessing the murder of a beautiful neighbor. To make matters worse, he falls for sweet, dysfunctional porn star Holly Body (Melanie Griffith), who may have been tricked into doubling for the victim.


NOW AND THEN
1995, Warner Bros., 100 min, USA, Dir: Lesli Linka Glatter

During a pivotal 1970 summer, four friends (Gaby Hoffmann, Thora Birch, Christina Ricci and Ashleigh Aston Moore) make a pact to always be there for one another; 20 years later, as one is about to become a mother, they reunite and reminisce. Demi Moore, Melanie Griffith, Rosie O'Donnell and Rita Wilson play the girls as adults in this poignant coming-of-age tale, which features a great period soundtrack and the coolest treehouse since STAND BY ME.


WORKING GIRL
1988, 20th Century Fox, 113 min, USA, Dir: Mike Nichols

This immensely likable look at one woman’s attempt to break through the glass ceiling features a near-unimprovable cast topped by Melanie Griffith as a secretary with big ideas, Sigourney Weaver as the boss who steals them and Harrison Ford as the man both have eyes for. A Cinderella story for the 1980s (complete with the decade’s focus on big business and even bigger hair), Nichols’ sure-handed romantic comedy picked up six Oscar nominations, including a win for Carly Simon’s original song “Let the River Run.”


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