Who's That Girl is a 1987 American screwball comedy film directed by James Foley, and written by Andrew Smith and Ken Finkleman.

It stars Madonna and Griffin Dunne, and depicts the story of a street-smart girl who is falsely accused of murdering her boyfriend and is sent to jail.

After her 1986 film Shanghai Surprise failed, Madonna decided to sign on to another comedy, titled Slammer, later renamed Who's That Girl.

The soundtrack also enjoyed commercial success, selling over six million copies worldwide, in addition to the title track becoming Madonna's sixth number one single on the US Billboard Hot 100 record chart.

[3] Nikki Finn is a carefree young woman who usually wears a leather jacket and skirt, sports fire-red lips and a platinum bob, and speaks in a high-pitched voice; she is also resourceful and intelligent.

The thieves catch and murder Johnny and frame Nikki by dumping his body into the trunk of her car, and she is sentenced to seven years in prison.

Only after dangling off a Cadillac limousine smashed through the top floor of a parking garage does he tell her the bank and the box number (6111) of her slain boyfriend.

Madonna's 1986 studio album True Blue was a critical and commercial success, spawning five top-five singles, and selling over eight million copies worldwide, by the year-end.

Griffin Dunne was signed to play the part of Loudon Trott, a lawyer whose job was to help Nikki get on a bus, after she was released.

[8] The part went to Robert Swan, followed by the signing of John McMartin, Haviland Morris, and Bibi Besch as Trott's father-in-law, fiancée, and mother-in-law respectively.

"[10] Madonna was also offered the lead role in the Blake Edwards comedy film Blind Date opposite to Bruce Willis, but she refused it in favor of Slammer.

"[12] Coati Mundi, member of Kid Creole and the Coconuts and Madonna's long-time friend, joined the cast to play the role of Raoul, Nikki's enemy.

[11] She asked Scott to create comical rah-rah and ballet tutu skirts for the character, with fishnet tights and loud make-up.

"[15] Madonna wanted Foley to give her proper direction on set, but he preferred her to be her real self, rather than the persona in her music videos.

Foley described her being around the set and not acting as a "pain-in-the-ass", since she "won't skimp especially on cost and she should know that Warner had a tight schedule and constraints on the budget.

The sequence was animation directed by Richard Machin, produced by Peter Rosenthal, animated by Glen Claybrook, John Canemaker, Doug Frankel, Dan Haskett, Norma Rivera-Klingler, April March, Bob McKnight, Edward Rivera and Bob Scott, with concept art and character designs by Daniel Melgarejo, assisted by Neil Martinson; and edited by James Romaine and Conni X.

[19][20][21] The soundtrack from the film was released on July 21, 1987, by Sire Records, and contains four songs by Madonna, and others by her label mates Scritti Politti, Duncan Faure, Club Nouveau, Coati Mundi and Michael Davidson.

[22] Madonna began working on the soundtrack in December 1986, and contacted Patrick Leonard and Stephen Bray, both producers of her third studio album True Blue (1986).

[22] Two more songs were composed for the film with Bray, the first being the dancey tune "Causing a Commotion", and the other being "Can't Stop", a track inspired by Sixties Motown and the group Martha and the Vandellas.

[23] After its release, the Who's That Girl soundtrack received mostly negative reviews from critics, who called it plain and incomplete, although citing the title track and "The Look of Love" as its highlights.

[40] The stage was bigger than her previous tour, flanked with four video screens, multimedia projectors and a flight of stairs in the middle.

It isn't even a real throwback to the screwball comedies of the 1930s, although it evokes the 1938 Katharine Hepburn-Cary Grant Bringing Up Baby by allotting a major role to a cougar (Hepburn had a leopard) that extricates [Madonna, Griffin] from trouble every time she whistles...

"When Madonna's no-nonsense pragmatism isn't being twisted into poses of lovable eccentricity, the actress is sexy and funny and never for a minute sentimental.

As the WASP-y sleeping prince, Mr. Dunne gives the most stylishly comic performance of a career that's been largely underrated by the public.

"[52] Philip Wuntch of The Dallas Morning News commented that the film is a deft and daffy comedy performance; Madonna is great with the one-liners.

"[53] Jay Boyar of the Orlando Sentinel gave a negative review saying, "Luckily for her, Madonna can sing, and use it to save herself from this disgrace of a movie.

"[54] Jamie Waylett of The Advocate was more critical, saying "Madonna delivers the worst performance in recent memory as the heroine of an attempt at screwball comedy.

Dunne, working in a domain once ruled by Cary Grant, manages to be stuffy, naive and vulnerable but never undignified as Loudon Trott, the New York lawyer.

"[69] The film's comparatively better faring at international territories prompted Madonna to defend that her ideas were better accepted in Europe and Japan, rather than her home country.

"[71] In another article in The New York Times, Vincent Canby noted that Madonna's real personality of a "knowing, shrewd, pragmatic young woman" failed to get portrayed in the film, becoming a possible cause of its failure.