Finn Morse
Dolly Parton was a cultural icon in every sense of the word. She inspired generations to be better people through her music, charity, and work in movies. Parton’s work in the 1980s film 9 to 5 stands as her most famous outing, save for her namesake theme park Dollywood. Parton’s partnership with stars Lily Tomlin and Jane Fonda shot the movie into the stratosphere upon its release. It became the first female-dominated movie in Hollywood to make over $100 million at the box office. Going beyond its financial success and star power, the movie sports social commentary and talking points that help define what it means for anyone to be a feminist. 9 to 5 set an example for like-minded feminist comedies released in the modern era to deliver their messages in approachable, entertaining ways.
9 to 5 is a workplace comedy about three women’s dream of sticking it to their boss, misadventuring into fruition. New hire Judy (Fonda) is shown the ropes of the workplace by Violet (Tomlin). Throughout the day, they are made to feel inferior under their boss, Mr. Frank Hart (Dabney Coleman). Fed up being under that manchild’s thumb, the pair have a night out with Hart’s secretary, Doralee (Parton). While swapping fantasies of paying back the boss for all they’ve had to deal with, the working women form a friendship. The film always takes its social commentary seriously, but leaves room for jokes at the expense of business’ biggest clowns.
The film is rich with dialogue about sexual harassment in the workplace and overcoming the patriarchy. It successfully threads the needle between striking a chord with audiences and being incredibly funny. Furthermore, conversations between the three likable leads play out very naturally, like they were overheard at a local bar. The screenplay never shoehorns in a joke about its treatment of feminism, at least until the very end of the film, which reminds us that every fantasy has its limits. Women are treated in demeaning ways on the daily, and the issue can’t be solved overnight. Yet, thanks to films like 9 to 5, the public can learn a lesson between laughs.
Mr. Hart, the ladies’ boss, is a textbook buffoon. Everything about him is a fantastic satire, down to his bushy mustache concealing his entire upper lip. Hart is a wrinkled-up tribute to pen pushers everywhere, doing nothing productive and putting down others at any given moment. He is condescending to every one of the women in his employ, whom he refers to as “his girls.” Each of the three main characters is mistreated by Hart differently, physically spelling out how he’s a “sexist, egotistical, lying, hypocritical bigot.”
On her very first day, Mr. Hart intimidates Judy at every turn, putting her down for little mistakes anyone could make. He takes credit for Violet’s achievements in a play to keep her under his control. Heinously of all, he leers and sexually harasses his secretary Doralee, spreading rumors about the two having an affair. The first act established his deplorable behavior as commonplace, making his playful suffering throughout the movie’s duration blissful and satisfying.
Mr. Hart represents a breed of patriarchy that 9 to 5 laughingly takes down: the men in the world who need to be held accountable and need to be karmically punished for their actions. Until then, the riches will not stop flowing their way. Hart has trophy upon trophy in his private office, complete with a taxidermied buck in the middle of the wall. His home is a furnished house on the hill, a mansion that he hasn’t earned in the slightest. The women around him—Violet, Doralee, even the newly hired Judy—work so much harder daily than Hart ever has. The damning issue is Hart knows this. It would take a visit from the heavens to get reality into this man’s head. Thankfully, such an angel has the face and voice of Dolly Parton.
Country singer and American icon Dolly Parton had never acted in a movie before 9 to 5. Her only condition to accept the Doralee role was that she got to write and sing the theme song. Evidently, it turned out to be one of her best songs, with the title song sometimes overshadowing the movie itself. One of the Oscars’ biggest blunders is not awarding it Best Original Song, instead going to “Fame” from Fame. While the film functions on its own merits, it would not be the same without the enthusiasm Parton brought to the title song and her role.
The scene in 9 to 5 with the biggest guttural reaction is the triple fantasy pot party. Funny enough, it stands for everything the screenplay is going for in destigmatizing social talking points while making the audience laugh throughout. Judy, Violet, and Doralee smoke marijuana together and cook up wacky ways they would turn the tables on Mr. Hart. Each fantasy has a wacky, maximalist style that speaks to each of the women’s personality and values.
Judy wants to open fire on him, taking down Hart with guns blazing. Doralee wants to toy with and degrade Hart, as he does to her on the daily. Violet dresses up like Snow White and poisons Mr. Hart before launching him out of his office window. All the scenes have wacky animations, goofy sound effects, and the relief of entertainment from the intentionally aggravating introduction. What follows these fantasies is a series of misadventures and comedic moments, advancing the feeling of liberation the premise promises.
There is a popular discussion about 9 to 5, accrediting it as a Marxist takedown of the American capitalist infrastructure. For the most part, plenty of its themes tie into Carl Marx’ philosophies of society blossoming through workers’ unification. Judy, Violet, and Doralee’s efforts follow that mindset, taking down the system and dethroning their boss. With Mr. Hart’s absence, the office space is made into a utopia. Every part of the workplace has benefited from people who strive for change, from workers’ health care to schedule leniency.
In contrast to the greedy coin-grabbing boss, Violet proves herself a natural leader based on merit. Violet’s aforementioned fantasy even parodies Disney’s Robin Hood, the most Marxist animated movie out there. The philosophy suggests a paradigm-shifting conclusion, one that appeals to Marx’ beliefs of effort breeding success. To remind its audience that true progress is yet to come, ambition is halted by the hand of the status quo.
Office facilitator Roz (Elizabeth Wilson) represents a generation unwilling to stand up for itself, content with perching on patriarchy’s shoulder after she found a stable career. Roz reports women around the office for slights and misdemeanors, cracking down on small mistakes and punishing the offenders. She even reports an immigrant worker for talking against Mr. Hart, orchestrating her swift removal. Roz is a system sympathizer who calls for zero change after she’s comfortable. As long as there are people like Roz, that Capitalist machine squeaks on. Progression is halted, fantasies extinguished, and the passionate drive to work harder is snuffed out.
A climactic visit from Chairman of the Board, Russell Tinsworthy (Sterling Hayden) nails the Marxist coffin shut. Hayden (Dr. Strangelove or: How I Stopped Worrying and Learned to Love the Bomb, The Godfather) was the third choice for the Tinsworthy role, previously brought to American icons Gregory Peck (To Kill a Mockingbird, Cape Fear) and Charlton Heston (Ben-Hur, The Ten Commandments). Tinsworthy’s character design is that of a red-blooded American capitalist, in the vein of Colonel Sanders or Theodore Roosevelt. His mere presence reminds the audience that the patriarchal society Americans live in is still alive and well. Social change doesn’t stem from one movie. However, an undeniable impact is indicated only after looking at the film’s influence on popular culture.
As aforementioned, the historically female-centered 9 to 5 made $100 million at the box office, and its chief advertisement was the infectious title song, which reeled in audiences from all parts of the United States. It’s safe to say that 9 to 5 would not have made as much of a splash without Dolly Parton, even with feminist icons Lily Tomlin and Jane Fonda starring. Using the universal language of music to send a social message is what makes 9 to 5 endure across decades. That advertisement model can be seen in modern feminist movies like Barbie and The Substance, both telling 21st-century stories of social change. Like Parton’s film, Barbie pre-released a song by a music idol, Billie Eilish in its case, to build film credibility. If the $1.447 billion success of Barbie isn’t enough, let the Oscar win for Eilish’s song do the talking.
Social change can be made through great art that knows what it’s doing. So many people saw 9 to 5, resonated with it, and laughed their way out of the theater. Most importantly, it was anything but a passing fad. Any great piece of art should continue to exude its greatness years and years after its release. 9 to 5 is such an art piece. It’s the kind of movie we need right now. Timelessly funny, socially relevant, and full of stars who made the world a better place.
Rest in peace, Dolly Parton.
