"9 TO 5 is as delightful and jolly as one can get in a comedy that has something to say but consciously shirks any trace of indoctrination."
Three female company employees wage war against their“sexist, egotistical, lying, hypocritical bigot” boss in this prototype 80s sisterhood comedy, 9 TO 5 is the late Colin Higgins’ second feature film andflexes the muscle of female star power which not only brings down the house, but also sets alight its box office, the runner-up top-grosser of its year, second only to STAR WARS: THE EMPIRE STRIKES BACK.
The Fonda-Tomlin-Parton trinity embodies three different types of career women, Fonda’s Judy is a housewife grossly jilted by her ex-husband for his secretary, so she is the greenhorn in the workplace, prissy but not without wits and guts, her frilly entrance is remarkably incongruous with the rest, although her clash with the boss Frank (Coleman) is most tangential among the three, her personal victory climaxed when she blurts out to her feckless ex-husband that being dumped by him is the best thing ever happened to her.
Tomlin’s Violet is a widow with a brood of four,the assertive senior office supervisor who has plodded for years in the company, yet the promotion she deserves proves to be unattainable because of Frank's sexism, and aggravated by being ordered about like a servant by him, she has every reason to get back at him; Parton’s Doralee (her maiden picture, who also pens and belts out the Oscar-nominated title song), a corn-fed, bosomy secretary repulses the derogated stereotype as a boss-hunting schemer, who is indeed happily married and only humors Frank’s advancement for the sake of the job, but in the face of Frank blabbering blackmail, she is the one who is not hesitant to pinion him like a steer.
Truly, the triad enjoys a real blast together, initiated by a joint-influenced brainstorm about how each envisions a scenario to vent their grievance on Frank - here Higgins makes a good fist of genre conventions, whether it is a black-white mob thriller, a lasso-tossing oater or a Snow White animation with a dark spin, all are given a reality simulacrum later in the plot - and hits the mark during their hilarious blunder with the wrong body, although the resultant kidnapping idea is less wholly engaging for its yawning implausibility, not least when the deus ex machina comes about in the form of Sterling Hayden’s chairman of the board, publicly asks equal pay to be eliminated from the reform program, which is actually conceived by the triad and executed by forging Hank’s signature.
Nonetheless, 9 TO 5 is as delightful and jolly as one can get in a comedy that has something to say but consciously avoids any trace of indoctrination, all three leading ladies are having a field day, but for my liking Tomlin is the one gets an upper hand for her steely nerve and comedic timing; as the antagonist, a versatile Coleman eloquently exhibits shameless wickedness to the hilt, and lastly, Elizabeth Wilson has her own moment as a brilliant tittle-tattler, who perfectly encapsulates the entire farce with a precisely uttered“Holy merde!” to bring down the curtain in the coda.
1，前三十分钟现实建构部分，细节铺垫较好，关键物品都埋有伏笔，节奏较慢，搞笑模式主要为人物与环境的不协调，三个主角此时也有矛盾和误会。
2，第三十分钟时，三个女人齐聚一堂，开始畅想，和老板的矛盾此时已经成为本片关键情节点。随手现实与想象发生连接，矛盾进一步恶化。
3，结尾前半小时左右，主角团与老板的矛盾以一种非现实的方式爆发（情节与前文的互相印证，使人产生了一种“匹配”的愉悦），但因前面幻想的铺垫，观众此时愿意接受其中不合常理的部分，继续沉浸在影像幻梦之中。即将结尾时出现了一个紧急人物危机，但并未展开，处理也略为牵强。
前半段欢天喜地，atta girl～中段脱力，在朝着《末路狂花》人设的反方向狂奔，场景喜剧却又不及《白头神探》的处理手法，让人有些恨得痒痒，好在演员遮住了一些。全片在叙事、价值传递上的诉求有些盖过喜剧气氛，这让前面50分钟的努力被愚蠢的人设剥夺了，不能忍。作为一部电影作品，脱力处实在太多太明显，剧情拐点刻意，剧情衔接似乎被架空一般，人设也不讨巧，明显没有强力编剧做出合适的结构。作为一部娱乐片，却又有着一点掩不住的光芒，包括弹性时间等理念，不清楚是不是由这里走出去。7分减一星
"9 TO 5 is as delightful and jolly as one can get in a comedy that has something to say but consciously shirks any trace of indoctrination."
Three female company employees wage war against their“sexist, egotistical, lying, hypocritical bigot” boss in this prototype 80s sisterhood comedy, 9 TO 5 is the late Colin Higgins’ second feature film andflexes the muscle of female star power which not only brings down the house, but also sets alight its box office, the runner-up top-grosser of its year, second only to STAR WARS: THE EMPIRE STRIKES BACK.
The Fonda-Tomlin-Parton trinity embodies three different types of career women, Fonda’s Judy is a housewife grossly jilted by her ex-husband for his secretary, so she is the greenhorn in the workplace, prissy but not without wits and guts, her frilly entrance is remarkably incongruous with the rest, although her clash with the boss Frank (Coleman) is most tangential among the three, her personal victory climaxed when she blurts out to her feckless ex-husband that being dumped by him is the best thing ever happened to her.
Tomlin’s Violet is a widow with a brood of four,the assertive senior office supervisor who has plodded for years in the company, yet the promotion she deserves proves to be unattainable because of Frank's sexism, and aggravated by being ordered about like a servant by him, she has every reason to get back at him; Parton’s Doralee (her maiden picture, who also pens and belts out the Oscar-nominated title song), a corn-fed, bosomy secretary repulses the derogated stereotype as a boss-hunting schemer, who is indeed happily married and only humors Frank’s advancement for the sake of the job, but in the face of Frank blabbering blackmail, she is the one who is not hesitant to pinion him like a steer.
Truly, the triad enjoys a real blast together, initiated by a joint-influenced brainstorm about how each envisions a scenario to vent their grievance on Frank - here Higgins makes a good fist of genre conventions, whether it is a black-white mob thriller, a lasso-tossing oater or a Snow White animation with a dark spin, all are given a reality simulacrum later in the plot - and hits the mark during their hilarious blunder with the wrong body, although the resultant kidnapping idea is less wholly engaging for its yawning implausibility, not least when the deus ex machina comes about in the form of Sterling Hayden’s chairman of the board, publicly asks equal pay to be eliminated from the reform program, which is actually conceived by the triad and executed by forging Hank’s signature.
Nonetheless, 9 TO 5 is as delightful and jolly as one can get in a comedy that has something to say but consciously avoids any trace of indoctrination, all three leading ladies are having a field day, but for my liking Tomlin is the one gets an upper hand for her steely nerve and comedic timing; as the antagonist, a versatile Coleman eloquently exhibits shameless wickedness to the hilt, and lastly, Elizabeth Wilson has her own moment as a brilliant tittle-tattler, who perfectly encapsulates the entire farce with a precisely uttered“Holy merde!” to bring down the curtain in the coda.
referential entries: Higgins’ FOUL PLAY (1978, 5.4/10); Seth Gordon's HORRIBLE BOSSES (2011, 5.3/10).
记得她们把糖盒和老鼠药盒搞混，然后交通警护送她们去医院的桥段吗？记得她们买狗链把老板锁住拘禁起来的情节吗？记得简方达用不来复印机，整个房间复印纸狂飞的场景吗。这片子实在是太暴笑了，有看过的吗？