The 1987 screwball comedy "Who's That Girl," starring Madonna and Griffin Dunne, underwent a notable production journey, marked by Madonna's determination to secure the role and her friend James Foley's direction. After the commercial and critical disappointment of her 1986 film "Shanghai Surprise," Madonna was keen to return to comedy. The project, initially titled "Slammer," required her to convince both Warner Bros. and the film's producers of her suitability
for the part. Her involvement extended beyond acting, as she also played a significant role in shaping the film's accompanying music and promotional efforts.
Securing the Project and Director
Madonna's previous film, "Shanghai Surprise," had been a significant setback for her acting career, leading to doubts from film producers about backing her. Despite this, she felt that comedy was more aligned with her strengths and pursued the film, then known as "Slammer." She aimed to portray Nikki Finn, a street-smart character wrongly imprisoned. To get the project off the ground, Madonna had to persuade producers Rosilyn Heller and Bernard Williams, as well as Warner Bros., that she was ready for the role. A crucial step was her suggestion to bring in James Foley as director. Foley, who had been Sean Penn's best man at his wedding to Madonna and had directed her music videos for "Live to Tell" and "Papa Don't Preach," was eager for the opportunity to direct a major feature film, having previously only helmed the smaller-budgeted "At Close Range."
Andrew Morton's biography on Madonna highlighted the skepticism surrounding the combination of a "dubiously talented movie star" and a "first-time movie director" for a potential box-office hit. However, Warner Bros. ultimately gave the film the green light, hoping to capitalize further on Madonna's existing success. Madonna herself was positive about the process, stating that Warner's executives were supportive and that there was a collaborative effort with the writers to refine the script and improve it.
Filming Challenges and Creative Decisions
Filming for "Who's That Girl" commenced in New York in October 1986 and continued until March 1987. The production faced a temporary halt in December due to heavy snowfall in New York City. Madonna utilized this unexpected break to focus on two other significant projects: her upcoming concert tour and the film's soundtrack. It was during the recording of the title track that Madonna decided to change the film's name from "Slammer" to "Who's That Girl," believing it to be a more fitting title.
One notable incident during filming occurred in January 1987, when a scene involving a cougar was being shot. During the second take, the cougar accidentally escaped its cage, causing filming to be paused for several hours. By February 1987, Madonna's scenes were completed, but she chose to remain on set to observe Foley and his team at work. Foley described her presence as a "pain-in-the-ass" due to her meticulous nature and unwillingness to compromise on costs, despite Warner's tight schedule and budget constraints. He also noted that Warner still harbored doubts about Madonna's acting abilities, allocating a larger percentage of the budget to the soundtrack than to the film itself. Post-production continued until July 1987.
Animation and Director's Perspective
During the development of the opening credits, Madonna proposed an idea to Foley: a cartoon figure of her character introducing the film credits. Foley embraced the concept, and Warner enlisted Broadcast Arts to create the animation. The sequence was directed by Richard Machin, produced by Peter Rosenthal, and animated by a team including Glen Claybrook, John Canemaker, Doug Frankel, Dan Haskett, Norma Rivera-Klingler, April March, Bob McKnight, Edward Rivera, and Bob Scott. Daniel Melgarejo, assisted by Neil Martinson, handled the concept art and character designs, with James Romaine and Conni X editing. This animated opening added a distinctive touch to the film.
Foley's perspective on Madonna's acting during this period was insightful. He observed that she was very "uptight" and focused on every detail, striving for a precise portrayal. He contrasted this with her performance in "Desperately Seeking Susan," where he felt she was more natural and at her best because she wasn't overthinking her role. Griffin Dunne, Madonna's co-star, also noted her preference for first takes, while he typically found his best performance around the fourth take. This difference in working styles required a compromise to determine the best takes for the film.
