9 to 5

This trivial little 'politically correct' comedy from 1980 concerns three women (Dolly Parton, Lily Tomlin and Jane Fonda) toiling in a male-dominated office, under the yoke of the consummate chauvinist boss, Dabney Coleman.

One day they decide to get out from under. Tables are turned as they literally enslave their boss - they bind him and humiliate him, and while he is in duress, they change their workplace into a civilised place to live and work. All in his name, of course - no-one even realises he isn't there.

What was a very slight nod to the female liberation movement back in 1980, now stands as an even slighter, drab little piece. Dolly Parton at least acts as if she is convinced there's some meaning to be found here somewhere, if she could only just see it. Jane Fonda is ploughing through this 'comedy' with grim sincerity, and is hugely evocative of the equally painfully sincere Dustin Hoffman in Tootsie. And how did Lily Tomlin get persuaded to get tangled up in this mediocre project? At least she has the the good grace to look mildly embarrassed most of the time.

This is not an awfully bad movie. It's just not a good one. It's certainly not good enough to be resurrected on DVD when there are so many outstanding titles out there which are totally neglected. There's nothing quite so tired as dated political-correctness...

This is a very fair anamorphic transfer of a reasonable print. There is some grain evident at times, and colours are presentable rather than outstanding in their hues. But there's nothing to upset the most fastidious of viewers - nothing, that is, except the movie itself.

The two-channel audio is presentable for its vintage. There are no special effects here; nothing to strain the most mediocre of systems. But dialogue is presented with appropriate clarity, and there is no distortion or pitch problems at all evident.

The theatrical trailer is full-frame, with moderate wear and thin sound. Compared to the movie, it does have the advantage of brevity.

Rent it if you're a fan of Lily Tomlin or Dolly Parton, or if you simply wish to see Jane Fonda in her full humourless glory. I can't see this token-feminist movie possessing any attraction today for anyone at all. Even the loopy Germaine Greer, who's ready to believe in anything at least once, would sneer at this one.