Desperately Seeking Susan (1985)

Very best movie i ever watch

Pretty good movie overall. First half was nothing special but it got better as it went along.

This story has more twists and turns than a second-rate soap opera.

It's an amazing and heartbreaking story.

1993 was the first time that l'd watched this movie on TV ever...now on DVD with the original audio (ugh..) on second time on full length version l agree this movie is good,firstly the plot is really original,second Madonna did a stunning performance, instead Arquette that was unconvincing as Roberta but in general way the movie is enjoyable and sometimes is funny....has been worth so see it again also with alternative ending,back to the 80'!!!

Desperately Seeking Susan is a clever and extremely well-written comic confection revolving around a bored New Jersey housewife named Roberta (Rosanna Arquette) who religiously follows the postings of a girl named Susan in the personal ads of her local newspaper because she apparently finds some kind of vicarious release in reading about Susan's wild lifestyle. One day she reads in the paper that Susan is meeting her boyfriend Jimmy in the city and decides to go to the city to actually see what Susan looks like and possibly meet her. Just as Susan arrives on the scene (unbeknownst to her or Roberta, she is being tailed by a killer), Roberta hits her head, wakes up and thinks she's Susan and that's where the fun really begins.To try and explain further would be confusing and totally ruin this delicious romantic comedy for those who have never seen it. Susan Seidelman's direction is crisp and detail-oriented and the screenplay by Leora Barish is absolutely brilliant and the real star of the film...the unpredictable twists and turns this story takes are too numerous to count, but be warned that this is one of those rare gems of a movie where if you walk away for five minutes without pausing it, you won't have a clue as to what's going on.Arquette gives a star-making performance as Roberta and she is well supported by Madonna, in her first major film role, as Susan, a character who is pretty much just a fictionalized version of Madonna herself so the character doesn't really come off as much of a stretch for her. I absolutely love the scene where Susan is in a club dancing to Madonna's smash "Into the Groove"...it feels almost like the 4th wall is broken but it really isn't. Kudos as well to Aidan Quinn as Susan's confused ex, Mark Blum as Roberta's slimy husband, and Robert Joy as Jimmy. And if you blink, you'll miss a brief appearance from ROSEANNE's Laurie Metcalf as Roberta's sister-in-law. This is a comedy/mystery/romance that, due to a beautifully constructed screenplay, on-target performances and a rocking soundtrack, makes all the right moves to an extremely satisfying conclusion.

This was THE defining movie of my coming-to-teenage years. I saw a rerun on TV the other night and I still knew all the lines by heart. Thank God for this little gem of a movie, in all its silliness. It takes me back to a time when everything was still possible, and I thought I knew everything although I really knew nothing. Well, now that I know, not everything but a great deal, I still find this movie really likable. It's strange that it's so old, and it still feels quite fresh and exciting. Maybe it's the New York atmosphere, or the sense of excitement that Madonna brings to every one of her scenes. I think she's good in this film because she doesn't yet take herself too seriously and isn't trying too hard. She is a natural performer, after all. How else could you solve the mystery of "the one good movie Madonna ever made"?

A bored suburban housewife yearning for excitement traces the personals ad of the film's title and is thrust headlong into a series of trendy misadventures in downtown Manhattan. It plays like a more audience-friendly alternative to 'After Hours', released the same year (and, coincidentally, also featuring Rosanna Arquette), sharing the same artsy-fartsy underground NY setting, but with none of the nightmare momentum of Martin Scorsese's black comedy of errors. Unfortunately the already stale mistaken identity plot twist is reinforced by a convenient stroke of amnesia, in screen writing terms a sure sign of a desperate imagination. The film is a slave to contemporary fashions, carried to extremes by the casting of Madonna as the tawdry, streetwise title character. She couldn't act to save her own life (and in a role which should have been second nature to her), but let's be fair: the script doesn't give her much to work with, being nowhere desperate enough to qualify as the modern urban screwball comedy it aspires to.