‘9 to 5’ 1980

Dolly Parton was a delightful surprise to audiences as an actress.

How much has truly changed for women’s rights since 9 to 5 was released back in the 1980 Christmas holidays? As a man, it’s not really for me to say. I do believe that progress is incremental and if taken for granted, also impermanent.

Like Tootsie, that other early ‘80s comedy about sexism, 9 to 5 is still funny and timely. Unlike Tootsie, which is nearly a perfect movie, 9 to 5's original flaws still remain true: The premise is promising, until half way through, when it falters, and never fully recovers. But overall, 9 to 5 is highly entertaining and still timely.

'9 to 5' owes much to the teamwork of the star trio. Dabney Coleman makes a fine comic bad guy as their boss. And the smart comedy still has lots to say about sexism.

Criticism has been said of 9 to 5 that it plays like a movie-length sitcom. At least it plays like a smart one, especially when you compare what’s passed for mainstream movie comedy in the last couple of decades.

Jane Fonda, as newbie Judy, gets the low-down by office veteran Violet.

One of the best movie openings ever, 9 to 5 percolates with Dolly Parton’s memorable title song as a variety of women head off to work. The set up is flawless. Lily Tomlin is Violet Newstead, the office pro who keeps getting passed over; Jane Fonda is Judy Bernly, the new hire who’s newly divorced; and Dolly Parton is Doralee Rhodes, the boss’ secretary with a sex bomb figure and an unfair reputation. Their nemesis: Franklin Hart, the “sexist, egotistical, lying, hypocritical bigot” boss, played by Dabney Coleman. After he humiliates them in different ways, an incident occurs which allows the women to turn the tables on their tyrant boss. They end up running the office, while he’s a prisoner in his own home, watching soaps! I won’t give any more away.

Dolly Parton is Doralee, the sweet secretary who fights off lecherous boss Dabney Coleman. Marion Mercer is his comically clueless wife.

There are a number of hilarious scenes, which are well-staged and perfectly performed.  After shit hits the fan over Violet being passed over for a promotion again, the ladies drown their sorrows at Charlie’s Bar, and segue over to Dora’s house for a joint. The revenge fantasy scenes that each of the women imagine are classic and the highlights of the film. The recurring story points and comic riffs are smart and funny. Though the middle section gets sidetracked by the slapstick mix up over Hart’s office incident/accident, the movie mostly regains its footing once it gets back to the office. Still, that’s a solid 20 minutes of funny, but non-essential nonsense at the hospital.

Feeling oppressed and depressed, the three office pals drown their sorrows.

Lily Tomlin is strong, yet funny as Violet, a widowed mom who makes it all work at home, and makes her boss look good at work. Violet has the most adversarial role toward the boss man; Tomlin’s subversive comic style has its moments sparring with Mr. Hart. The glint in Lily’s eye and slyly sarcastic line reading give the dialogue an extra zing. Even by 1980, Lily had proven herself to be a solid serious actress, too. Tomlin’s Violet has strength as well as comic chops.

Tomlin's Violet is pissed after being passed over again for a promotion by boss Franklin Hart, Dabney Coleman.

Dolly Parton was a surprise delight in her film debut. Like Cher later, people were so surprised that the cartoonish Dolly could be a delightful, warm actress. In both cases, it paid to look beyond appearances! Dolly’s Dora Lee is warm and funny, as well as vulnerable. As Hart’s secretary, everyone assumes she is sleeping with him—because he’s spread that impression around the office pool. Parton’s reaction when Dora Lee finds out is priceless.

Dolly's Doralee goes ballistic when she finds out the boss has been stoking rumors
that they are having an office affair.

Jane Fonda got some knocks because her Stepford ex-wife character was so unlike her off-screen image, as when Elizabeth Taylor tried to occasionally play "ordinary" women and critics considered such casting condescending. But Jane's quite good, and has always been a skilled comic actress. Her standout moments include her silent bit, dazed after meeting Dolly’s bodacious Doralee, walking away and looking down at her own modest bosom. And for anyone who ever had a rough first day on the job can appreciate Jane’s Judy wreaking havoc in the copy room! I do think whoever made the decision to do Jane over as the spinster style was also an inspiration for Dustin Hoffman’s Tootsie. I wasn’t working in offices during the ‘80s, so I’m not a fashion expert!

Jane Fonda, as naive divorcee Judy, is nobody's Tootsie! 

Dabney Coleman had the distinction of playing two total dicks in both 9 to 5 and Tootsie, and the movies may have typecast him. Dabney's got the bigger role here as Franklin Hart, and he runs with the ball. Coleman is a classic comic jerk, but also possesses the dramatic weight to be a serious threat. Dabney is quite funny in some of the more slapstick moments. With Tomlin’s Violet, Coleman’s boss is the poster boy for male chauvinism, always dangling a promotion while alternately threatening her. His moments with Parton’s Dora Lee are as a comic sexist, disgusting, but you know Dolly can kick ass—or in this case, hog-tie one! And with Fonda’s new girl, he’s the classic jerk boss.

The trio take matters into their own hands when the boss tries to play hardball.

Elizabeth Wilson is quirkily amusing as Roz, the office spy for Mr. Hart. Marion Mercer is likewise as Hart’s clueless, sweet wife, Missy. These two great comic actresses make their time onscreen count. Sterling Hayden struts through the film’s finale as Tinsworthy, The Chairman of the Board. Henry Jones is Hinkle, Hart’s boss, and Peggy Pope is Margaret, with her drunken, “Atta girl!”

Peggy Pope, as Margaret, offers a classic line of encouragement, passed away in 2020.

The story by Patricia Resnick and the screenplay and direction by Colin Higgins are all smart and snappy. The three stars play beautifully together and their chemistry truly shows—it’s no surprise that they’ve stayed friends over the decades. There was recent talk of a 9 to 5 sequel, but it fell through. Long-delayed sequels are usually infamous duds; let’s just leave some of the popular film favorites alone.

Dolly, Lily, & Jane became fast friends, which has remained steadfast for four decades.

Women have come a long way baby—to refresh a late ‘60s catchphrase. Let’s just keep moving forward. Watch 9 to 5 as a refresher to what women in the ‘60s and ‘70s put up with in the workplace.

FYI: I put all the movie overflow on my public FB  movie page. 

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40 years since '9 to 5' was released, the comedy still reigns as a perennial favorite.