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Nine to Five
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Directed by Colin Higgins.
Judy Bernly (Jane Fonda), a housewife whose husband has left her for his secretary, begins her own secretarial career at a huge corporation. Violet Newstead (Lily Tomlin), a feisty, veteran office manager, instructs her on the perils and procedures of office life -- and of working for Franklin Hart Jr. (Dabney Coleman), their chauvinistic, sleazy boss, and his right-hand woman, the crisp, nosy Roz (Elizabeth Wilson). Meanwhile, Hart's endless attempts to seduce his happily married secretary, Doralee Rhodes (Dolly Parton), lead the entire office to think she's a trollop. When Hart unfairly passes Violet over for a promotion, she drowns her sorrows at a local bar with Judy and Doralee, who regales the others with tales of Hart's epic advances. Later, at Doralee's house, the women smoke pot, eat barbecue, and concoct hilarious revenge fantasies -- a rodeo hog-tie, a Wild West shootout, and a gothic Snow White scenario -- about killing their boss. When a mix-up leads the women to think they have accidentally poisoned Hart's coffee, they hatch a scheme to protect themselves by stealing Hart's body from the morgue. When he turns up alive, never having drunk the coffee, they must kidnap him to prevent him from blackmailing them or calling the police. The women then use the occasion of their boss' absence to effect some changes around the office. ~ Brian J. Dillard, All Movie Guide
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SpoutBlogSpoutBlog The Faux Feminism of Mr. Mom
by SpoutBlog in SpoutBlog on spout.com
hasn't rated it.
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"While I’m on the subject of film studies classes I’m taking this semester, here’s another story inspired by a film I watched at school yesterday. In Women in Film, which, in case you can’t tell, is a class on feminist film theory, we screened Marleen Gorris’ mind-numbing debut A Question of Silence (original Dutch title: De Stilte rond Christine M.). While bored from the obviousness of the film, which tells the story of three women on trial for the random murder of a boutique salesman, I thought about how much it reminded me of 9 to 5, a movie I would have much preferred to be watching (and not just because the music is soooo much better). Then, as my mind kept wandering, I realized that three popular movies I loved as a small child were 9 to 5, The Incredible Shrinking Woman and Mr. Mom, all silly comedies made and set in the early ’80s (as was Gorris’ film), all obviously informed by the women’s movement of that time, which could each be given a serious reading from a feminist fi ... " [More]
HairyLimeHairyLime "that's all"
by HairyLime in HairyLime Blog
liked it.
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"One of those movies that was meant for the audience to root for the plucky heroine, but gets hijacked by the actor or actress that is obviously having the time of their life with a juicy villain role. I found myself very annoyed and frustrated by the main character here. Why in the hell she didn't just quit after the first half an hour of abuse from this boss and snippy coworkers is beyond me, I suppose we are meant to admire her 'stick-to-it-iveness' and enjoy her transformation from dowdy frump to fashion queen, and then root for her to 'learn a big life lesson' and go back to her previous life 'a little wiser for the experience'. Fooey on that.Meryl Streep is the show here. She steals every scene in which she appears, and her dismissive 'that's all' at the end of each machine gun firing monologue is a great capper that so perfectly sums up her attitude towards those she deems her 'inferiors' (which could be just about everyone she ... " [More]
Review by All Movie Guide
All Movie Guide
is neutral about it.
Between the three of them, Lily Tomlin, Jane Fonda, and Dolly Parton manage to embody at least six archetypes of put-upon womanhood in this feminist manifesto disguised as a hilarious satire. Fonda represents both the happy homemaker and the tentative divorcee. Lily Tomlin plays the self-assured widow and also the career woman trying to break into the boys' club. Dolly Parton -- parlaying the comic timing she honed as a country-music variety-show regular into an auspicious film debut -- at first seems the opportunistic trollop, but really she's the sweet working wife. And with a huge supporting cast that eschews male characters almost as forcefully as The Women, Nine to Five fits in everyone from gal Fridays to working moms, jaded alcoholics to clueless trophy wives. Unlike such later feminist empowerment fantasies as The First Wives Club, though, this Colin Higgins-directed farce wears its satire on its sleeve. Animated flights of fancy, exaggerated revenge scenarios, and the fine comedic chemistry of the starring triad keep the film from seeming mean-spirited even when it stacks the deck in favor of the fairer sex. The phrase "sexist egotistical lying hypocritical bigot" fits Dabney Coleman's despicable F. Hart to a tee; he makes the creep seem instantly familiar, yet totally over the top. Fine supporting turns from Marian Mercer (as Hart's wife) and Elizabeth Wilson (as the meddlesome Roz) are just two of the many details that make this movie so funny. By 1980 the women's movement enjoyed the patronage of not just political activists, but millions of ordinary working women, and Nine to Five was the perfect populist vehicle for their collective cries of frustration. Laughter really is the best revenge, and that's what this smart fable provides in spades. ~ Brian J. Dillard, All Movie Guide
 



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