9 to 5
Written by Andreas Babiolakis
Today is Dolly Parton’s birthday. I didn’t find that there were enough films to warrant a usual “Five Films for Newcomers” article. So, here’s a classic review of 9 to 5.
9 to 5 has had staying power as a feminist statement with enough fun to not feel preachy. There’s Dolly Parton’s song recorded for the film which has given Colin Higgins’ revenge comedy a new life in another way (Parton’s hit went where the rest of her hits lived: on the radio for decades). The trio of badasses (Parton, Lily Tomlin, and Jane Fonda) remains cemented in our minds, because, well, could there have been a better lineup of strong women to carry this picture? What helps is their versatility, as well. They have the occasional dramatic moment, but their comedic timing is what makes 9 to 5 feel so personable. These are the women we know in our lives that deserve that big break (except they’re Jane Fonda, Lily Tomlin and Dolly Parton: three ladies we’d likely never have the privilege of being in the same room as).
With three female icons comes three storylines of varying fantasies. These include Parton’s western rodeo, Tomlin’s Disney animation gone to hell, and Fonda’s action flick. This triad of stories are all the wishes of three disgruntled employees answering to their sexist jerk of a boss (played by Dabney Coleman). Fantasy meets reality and turns their dark desires into frightening panic-based reactions, effectively trapping their boss in the ways that have brought their dreams to life (somewhat). 9 to 5 never feels fully real, though, and the fun surrounding these attacks doesn’t disappear.
If 9 to 5 needed three powerful ladies at its centre, it couldn’t have selected a finer trio.
By the time 9 to 5 finishes, you know you can’t take it completely seriously. None of the resolutions wash. The progressions are more ridiculous than the fantasies concocted earlier. That’s the beauty of the film, though. It’s a rare revenge-based picture that doesn’t aim to challenge you. It’s a hypothetical scenario, more than anything: our ability to live out a “what if?” daydream, much to the chagrin of corrupted bigoted people in power. Without every fully declaring war on rich white men with authority, 9 to 5 still unites many viewers that have had to answer to “the man”. It’s like getting away with murder (almost literally). You can’t even call 9 to 5 a satire, either. It’s a straight up comedy through and through, so how much trouble can we get into here? No one did get in trouble, and 9 to 5 has thrived ever since its release. Somehow, a film with the intention of harm is harmless. It’s kind of astonishing, really.
Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Ryerson University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.