by Jessica Lynn Lovelace

Created on: March 08, 2010   Last Updated: March 09, 2010

Nine to Five

Released: 1980

Length: 110 minutes

Rating: PG

Starring: Jane Fonda, Lily Tomlin, Dolly Parton, Dabney Coleman

Director: Colin Higgins

Music: Charles Fox (theme song by Dolly Parton)

Released by Twentieth Century-Fox and IPC Films

True friendship lasts a lifetime and creates bonds that are so unique, literally anything can happen.  Nine to Five is a great success that follows three co-workers who band together, empower each other through their new friendship, and take on their boss to improve their lives and those of their co-workers.

Judy (Jane Fonda) accepts a job at Consolidated as one of many faceless office workers.  With no previous work experience, Judy becomes overwhelmed by the multitude of tasks, the repetitious workweek, and the unfairness of her boss, Franklin Hart (Dabney Coleman).  Violet (Lily Tomlin), Judy’s immediate superior, has worked in the company for over 12 years.  She knows the job, has the loyalty of the workers, and is passed up for a promotion by Hart because of her gender.  Doralee (Dolly Parton) is Hart’s personal secretary.  Her daily trials include fending off Hart’s numerous seduction attempts (even though it is widely known that he is married) while still keeping her job.

One especially trying day these women, fed up with Hart, individually leave work early.  They become quick and close friends when they all end up at the same bar, complaining about Hart.  The next day a botched, accidental poisoning kicks off a rapid series of events that include an offbeat kidnapping and a race against the clock.

Lily Tomlin and Dolly Parton fully embrace their roles and shine.  Their acting even carries the film through its slow points.  For example, the monotony of describing office work could have been just that: dry and boring.  But, Tomlin breezes through the explanations with just the right amount of sarcasm and quips.  Her facial expressions and views of the company will have you rolling with laughter. 

While the women have fully developed characters, Hart has a one-dimensional, purely stereotypical role.  Although this is necessary so that the women have only one obstacle to overcome instead of many, it still leaves a slight aftertaste in the mind.  Hart is a sleaze on too many levels.  He objectifies and treats his workers like trash.  Hart tells Judy, on her first day of work, that she is prettier than some of the old bags that work for him and later that same day yells at for being a moron when not knowing how to operate a rather big and intimidating copier.  He demands Violet cater to his whims by buying scarves and fetching him coffee when Doralee is out of the office.  He fires workers for small offenses when he is angry.  And to top it all off, Hart also sells a warehouse full of office equipment for his own profit.  Added together, all this creates not only an unbelievable character, but also one that might spark sympathy with some viewers. 

Luckily, the methods the women use to evade trouble brings comic relief to the harsh obstacles they face.  Much can be overlooked when the minds of these three combine to come up with ingenious and hilarious plans to dig themselves out of trouble.  The success and focus of the film, therefore, is in its comedy and not on its commentary about the problems of office politics.  Women empowerment shines through the humorous bonds of friendship and teamwork against an ego inflated adversary. 

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