Film Snail

6.9

Nine to Five

PG·1980·110m

Comedy

Summary

Frank Hart is a pig. He takes advantage of the women who work with him in the grossest manner. When his three assistants manage to trap him in his own house, they assume control of his department, and productivity leaps, but just how long can they keep Hart tied up?

Cast

Jane Fonda

Judy Bernly

Lily Tomlin

Violet Newstead

Dolly Parton

Doralee Rhodes

Dabney Coleman

Franklin M. Hart Jr.

Sterling Hayden

Russell Tinsworthy

Elizabeth Wilson

Roz Keith

Henry Jones

Mr. Hinkle

Lawrence Pressman

Dick Bernly

Marian Mercer

Missy Hart

Ren Woods

Barbara

Norma Donaldson

Betty

Roxanna Bonilla-Giannini

Maria Delgado

Peggy Pope

Margaret Foster

Richard Stahl

Meade

Raymond Vitte

Eddie Smith

Edward Marshall

Bob Enright

Alan Haufrect

Chuck Strell

Earl Boen

Mr. Perkins

Jeffrey Douglas Thomas

Dwayne Rhodes

Tom Tarpey

Norman Lane

Michael Delano

Motorcycle Cop

Barbara Chase

Buffy

Helene Heigh

Charlotte

Vicki Belmonte

Phoebe Hotz

Jerrold Ziman

Tom Wood

Eric Mansker

Mailroom Clerk

Shirley Anthony

Maxine

Michael Hehr

Intern

Gary Bisig

Medic

Brad David

Medic (as Brad David Stockton)

Raymond O'Keefe

Man in Hospital

Vanna Salviati

Woman in Hospital

Elisabeth Fraser

(uncredited)

Les Jankey

Disabled Office Worker (uncredited)

Berniece Janssen

Extra (uncredited)

Terrence E. McNally

Policeman

Esther Sutherland

Janitress

Peter Hobbs

Doctor

Gavin Mooney

Detective

David Price

Josh Newstead

Crew

Director, Screenplay

Colin Higgins

Screenplay, Story

Patricia Resnick

Reviews

Geronimo1967

June 7, 2023

I can't help but think that if some of the folks churning out the bad-ass "girl power" nonsense of the naughties were to look back at films like this; they might see a clear demonstration of what real girl power actually is... Jane Fonda, Lily Tomlin and Dolly Parton are three working women at various stages of the corporate food chain - presided over by their womanising , parasitic boss Dabney Coleman. Initially suspicious of each other, they unite over some of Tomlin's teenage son's weed and decide to take matters into their own hands. What follows is at times a laugh-out-loud comedy as they manipulate and reek revenge on their hapless, helpless boss. It could never be called subtle, but it does illustrate clearly that wits and guile are more than enough to achieve their aims without the need for long fight scenes; flashing their flesh and/or continuous bad language. The title song isn't bad, ether...