Mannequin (1987) – A Window Display of 80s Nostalgia

Some movies push cinematic boundaries. Some redefine genres. And some—well, some give us Mannequin (1987), a film where retail display design meets ancient Egyptian magic in the weirdest love story ever put to screen. This cult classic, starring Andrew McCarthy and Kim Cattrall, is as absurd as it is endearing, embodying the unapologetic weirdness of 80s cinema.

For the Born to Watch crew, Mannequin is the definition of a guilty pleasure movie. Matt confesses to watching it over 60 times, while Damo struggles to understand how a film about window displays could ever become a Hollywood hit. With nostalgia, bizarre storytelling, and one of the most 80s soundtracks ever, Mannequin is a film that defies logic—and yet, it still holds a strange charm.

Love, Retail, and a Lot of Suspension of Disbelief

Jonathan Switcher (Andrew McCarthy) is an artistic dreamer who can’t hold down a job. After being fired from everything from sculpting to hot dog assembly, he stumbles into a gig as a window dresser at the failing department store Prince & Co. But this isn't just any retail job—one of the mannequins, Emmy (Kim Cattrall), magically comes to life when no one else is watching.

The catch? Emmy is actually an ancient Egyptian princess, who prayed to the gods to escape an arranged marriage and has been reincarnated as a mannequin throughout time. For some reason, Jonathan is the only person who can see her come to life. Together, they create stunning window displays that attract crowds and turn the store’s fortunes around.

Of course, there’s a corporate villain. Enter Illustra, the rival department store desperate to steal Jonathan’s creative magic (or just the mannequin). James Spader plays Mr. Richards, a sniveling, slick-haired executive, while G.W. Bailey (aka Captain Harris from Police Academy) is the bumbling security guard, Felix. And let’s not forget Hollywood Montrose (Meshach Taylor), Jonathan’s flamboyant, scene-stealing best friend who brings over-the-top comedic energy to every moment.

Peak 80s Nostalgia

If you took every 80s rom-com trope and put them in a blender, Mannequin is what you'd get. The montages alone rival Rocky, with Emmy and Jonathan dancing, riding motorcycles, and trying on increasingly ridiculous outfits. Matt and Damo agree that the sheer excess of these sequences is part of the movie’s undeniable charm—if only because they stretch a thin plot to feature length.

And then there’s the soundtrack. “Nothing’s Gonna Stop Us Now” by Starship wasn’t just an 80s anthem—it was Oscar-nominated and hit #1 on the Billboard charts. The song remains one of the most memorable things about Mannequin, cementing it as a time capsule of pure 80s cheese.

Damo points out that no other movie is as anchored in its decade as Mannequin. Every scene is a neon-soaked, synth-filled reminder that this was made at the height of big hair, leg warmers, and outrageous fashion choices.

The Good, The Bad, and the Completely Ridiculous

The Good:

• Andrew McCarthy’s charm: He might not be the typical leading man, but McCarthy makes Jonathan likable—even if he’s essentially romancing a department store fixture.
• Kim Cattrall’s charisma: Even with an absurd premise, Cattrall makes Emmy fun, playful, and somehow believable.
• Hollywood Montrose: Meshach Taylor steals the movie, delivering every line with the energy of a Broadway musical.
• The nostalgia factor: If you grew up with Mannequin, it’s impossible not to get swept up in its ridiculousness.

The Bad:

• The plot is nonsense: Emmy is an Egyptian princess... but why is she a mannequin? How does this curse work? Why is she time-traveling through window displays?
• Roxy, the evil ex: Jonathan’s ex-girlfriend isn’t just unlikable—she’s cartoonishly awful, going so far as to try and shred Emmy into pieces.
• The romance is a little... weird: Falling in love with a mannequin is one thing, but Jonathan carrying Emmy around the store while she’s lifeless? That’s another level of creepy.

The Ugly:

• The Benny Hill chase sequence: The final act turns into pure slapstick, with hoses spraying, security guards tumbling, and Jonathan hang-gliding through a department store (because… why not?).
• Felix the security guard: G.W. Bailey basically replays his Police Academy role, only dumber.
• The most unrealistic workplace ever: Apparently, you can turn an entire department store around by putting cool stuff in the windows.

Box Office Success vs. Critical Destruction

Despite its nonsensical plot, Mannequin was a surprise hit. It made $42.7 million on a $7.9 million budget, running in theaters for 46 weeks—a massive feat for a romantic comedy about mannequins.

Critics, however, hated it. Roger Ebert famously called Mannequin “dead,” giving it a scathing review. The film sits at 20% on Rotten Tomatoes, though audiences have been far more forgiving.

Matt and Damo are divided—Matt loves it for its nostalgic charm, while Damo still can’t believe a movie about window dressing got made.

Final Verdict: A Guilty Pleasure for the Ages

Is Mannequin a cinematic masterpiece? Absolutely not. Is it a cult classic? Undeniably.

It’s a film that only works if you embrace the absurdity—the cheesy montages, the over-the-top villains, the idea that a guy can fall in love with a mannequin and somehow, that’s fine.

If you’re looking for logic, go elsewhere. But if you’re in the mood for pure, unfiltered 80s nostalgia, Mannequin is a ridiculous, delightful ride.

What do you think?

Have you seen Mannequin? Do you love it or hate it? Drop a comment and let us know!

🔗 Listen to our full Mannequin (1987) Movie Review on Born to Watch here: https://www.borntowatch.com.au/mannequin-1987-movie-review/

#MannequinMovieReview #BornToWatchPodcast #80sMovies #KimCattrall #NothingIsGonnaStopUsNow #GuiltyPleasureMovies #RetroMovieVibes