To me, this movie is perfection.

Bad Acting and worse Bad Screenplay

The acting is good, and the firecracker script has some excellent ideas.

The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.

Dabney Coleman is the boss. Under him are floor manager Lily Tomlin and personal secretary Dolly Parton. They don't get any respect, and neither do the other female employees at the company, even though he's less competent than most of his underlings! When Jane Fonda, fresh from a divorce, enters the workforce and gets a taste of his attitude, the three ladies commiserate and become close friends.For any woman who's been disrespected by her boss, felt the pressures of being the breadwinner in the family, or been unfairly treated at work, this movie will be your new best friend. It's absolutely hilarious, but with enough realism to make you feel the sting alongside the characters. Dolly Parton was nominated for an Oscar for her catchy and true-to-life title song, and she'll win you over in the first three minutes of the film. Lily Tomlin becomes the poster child for feminism as she delivers powerful speeches, and Jane Fonda is adorable in her frumpy wig and oversized glasses. On her first day of work, she's reduced to tears because she doesn't know how to work the copy machine. Anyone, man or woman, who's ever had a first job will relate to her in that scene.9 to 5 will keep you quoting Patricia Resnick and Colin Higgins's screenplay long after it's over. You'll pout to imitate Dolly and say, "That hurt my feelings!" and puff out your chest declaring, "Hit the road Buster; this is where you get off!" like Jane—and you'll never look at your coffee sweetener the same way again. This is a great chick flick, and a must-see for any working woman.

Nine to Five (1980): Dir: Colin Higgins / Cast: Jane Fonda, Dolly Parton, Lily Tomlin, Dabney Coleman, Elizabeth Wilson: Observant and hilarious view of women in a working world dominated by males. It takes place in an office building with recently divorced Jane Fonda arrives for her first day. Lily Tomlin plays a working mother who has seen it all and handles the demands like a pro. Sunny Dolly Parton is so full of life yet she feels bad when ignored by co- workers due too untrue rumors spread by the boss. Through an awkward set of events blackmail plays a factor and they kidnap their boss and create a better working environment. Funny and clever with appealing revenge fantasies played out during an evening of smoking pot. Insightful directing by Colin Higgins who previously made the spy comedy Foul Play. Fonda, Tomlin and Parton are hilarious with Dabney Coleman perfectly cast as the chauvinistic boss. Elizabeth Wilson is amusing as Coleman's nosy assistant who spies the the women. All three women are from different backgrounds, with Fonda dealing with her ex-husband's attempt to mend, Tomlin dealing with bickering children, and Parton sent out to buy scarves for her boss's wife that end up being given to her. Plus an ending where everybody seems to win including the boss who encounters deja vu. Strong statement of woman's rights result in a true comic gem. Score: 10 / 10

The title song I have obviously heard many times on the radio, on television and in films, it is probably the only one know I really know from the famous country and western singer, I was interested to see the film that the song came from, and the acting debut for the singer. Basically at Consolidated Companies, three female office workers, secretary Judy Bernly (Jane Fonda), senior office supervisor Violet Newstead (Lily Tomlin) and fellow secretary Doralee Rhodes (twice Golden Globe nominated Dolly Parton) have had enough with their boss. The company boss Franklin M. Hart Jr. (Dabney Coleman) is a sleazy, selfish, sexist, misogynist pig who takes advantage of all his female employees, and the three colleagues plan to get their revenge on him. There are a couple of instances where they may be contemplating killing him, and there is an accident where they think they do, but they settle instead with simply teaching him a lesson by trapping him in his house, making him see the error of his ways. By the end Hart has very much learnt his lesson to treat women much better, and the end credits say that Judy, Violet and Doralee went on to better careers and stuff. Also starring The Asphalt Jungle's Sterling Hayden as Russell Tinsworthy, Elizabeth Wilson as Roz Keith, Henry Jones as Mr. Hinkle, Lawrence Pressman as Dick Bernly, Marian Mercer as Missy Hart and Renn Woods as Barbara. The three female stars all do their vengeful characters as well as they can, the one that stands out for me is indeed Parton, and Coleman is a good choice to be the bastard mistreating them, I will admit it is not the funniest and most original film, it isn't such a bad comedy though. It was nominated the Oscar for Best Song for Parton's title song (also nominated the Golden Globe). Worth watching!

In view of the activist aggression of this revenge fantasy, it might be apt that the funniest performance in the film is by Dabney Coleman, who plays unfair, chauvinistic company superior Hart. Hart is a fun bad guy, a bird-brained horndog so in the throes of his trifling infatuations that he's not beyond knocking his pencils on the floor so he can peep Parton picking them up on her hands and knees, her cleavage showing. There's some message sent by the fact that the biggest laughs in this feminist candygram hinge on wholehearted, unashamed sexism.Colin Higgins' infectiously amusing little 80s comedy starts as satire, skids indecisively into farce, and ends by intently flying the banner of feminism. It has some incredibly amusing moments, and then it has some key constituents that fall short, including some of its pot-induced fantasy sequences. It's pleasing entertainment notwithstanding its lopsided features and a plot that's almost too ridiculous for the material. The movie is present in the convention of 1940s screwball comedies. It's about ridiculous events befalling droll exaggerations of recognizable types, and, like those Hawks, McCarey and Stevens pictures, it's also laced with a mortal dose of social commentary.The implication in this case involves women's lib, particularly with the position of women in the corporate workplace. Fonda, Tomlin and Parton all work in the same office. Tomlin is the well-organized and very seasoned office manager. Fonda is the tenderfoot, having a go at her first job after a divorce. Parton is the boss's secretary, and everybody in the office thinks she's having an affair with him, so the other women won't have anything to do with her, until she finds out who's been spreading that rumor.Played by Dabney Coleman, Hart is unkind, exasperatingly self-righteous in his status quo worldview, with an immense and genuine yearning for Parton. She's having none of it. After the movie hosts some human and labor rights issues like equal pay and merit promotion, the movie expands into a peculiar plot to hijack Coleman in an effort to secure equality. He ends up swinging from the ceiling of his bedroom, fastened by wire to a garage-door opener.This entire kidnapping sequence moves so far toward unreserved travesty that it injures the movie's more realistic opening scenes. But maybe we don't actually care. We realize immediately that this is consciously a frivolous film, notwithstanding its yolk of sociopolitical import. And, affording the obligatory indulgences, we just lay back and enjoy it.