Has there ever been a film that better encapsulate’s William Congreve’s oft-quoted quip that “hell hath no fury like a woman scorned” more than the timeless classic 9 to 5? If there was ever a film that could be considered a definitive work of feminism on screen, you’d do worse than to name Colin Higgins’ exceptional comedy, which pushes the envelope in such unexpected ways, and functions as being just as relevant today as it was a staggering forty years ago, when the director assembled a trio of astonishing actresses to have some fun and convey a meaningful message along the way. Like any truly great comedy, 9 to 5 has only increased in stature since its original release, and whether being revisited by old devotees (such as yours truly) or captivating an entirely new generation who are just coming to be familiar with the hilarious antics of three of cinema’s most formidable heroines, it has truly stood the test of time, and has aged beautifully, growing into a resounding call to arms that may be relatively slight in theory, but has such an incredible heft, packing an emotional punch very few would expect, and proving that one can easily have some fun while looking into serious subject matter, with the two not being nearly as oppositional or contradictory as many would suggest. I have revisited 9 to 5 a few times over the years, and with each subsequent viewing, there is something new to be found – and even if its as inconsequential as an expression or line reading from one of the incredible actresses leading the film, there are so many new details to unearth in a film that may appear like another effervescent, outrageous comedy, but traverses such complex subject matter, it’s almost entirely defined by its themes more than it is the execution of them – but the pleasure comes in seeing how Higgins (who is not a stranger to merging grave matters with upbeat comedy) finds a way to employ both of them in one of the most enduring comedies of its era.

There are so many reasons to love 9 to 5, and anyone who has been touched by this film over the past four decades will doubtlessly tell you that there is an abundance of merit embedded so deeply into this wonderful film, half of the experience is surrendering yourself to the madcap energy of the film and hoping that wherever it takes you, it’ll at least be worth it. Not only is 9 to 5 worth every moment, it has such an inquisitive sense of humour, it constantly finds itself seeing how far it can push a ridiculous but still absolutely captivating premise before it becomes ludicrous or loses all semblance of sanity. Simple but merciless is a perfect descriptor of this film, which takes no prisoners, especially when it comes to eviscerating socially-mediated beliefs that are far more grave than a buoyant comedy like this will have you believe at the outset, but which gradually grows into an eccentric, but thoroughly meaningful, look into reality that doesn’t ever come across as heightened. There’s a tendency for us to view these classic comedies from bygone eras through rose-tinted glasses, remembering them fondly from our days of reckless naivete and not noticing the glaring flaws that only come through for more discerning viewers – but without any hesitation, 9 to 5 is one of the true exceptions, precisely because not only does it not try and conceal its flaws, but rather openly embraces them, making them a part of the narrative, and in the process finding a way to make even the most frustrating shortcoming meaningful and entertaining. This is a film that holds up exceptionally well, as both a comedy and as a work carrying a potent social message – and in both regards, it succeeds wholeheartedly, finding a delicate balance between two very different schools of thought that make for thoroughly entertaining, and truly thought-provoking viewing.

9 to 5 would simply not be the same without the three women heading this cast – it isn’t surprising that Jane Fonda, Lily Tomlin and Dolly Parton were the only people ever considered for these roles, since they essentially created the characters and cast themselves in the roles, which may appear as some kind of artistic vanity, but actually carries a sense of formidable defiance, which is essentially the thesis statement of this entire film. There are very few works that can boast three leads who are all equally brilliant, but 9 to 5 does just that, with every moment involving any of these women being amongst the most entertaining of its era. Fonda, Tomlin and Parton work so well together, which can be felt in absolutely every frame of the film – while most would expect these three performers, who were all established entertainers in their individual fields, to be fighting for the spotlight, they’re remarkably subdued, and are happy to share the moments with each other, giving the film a sense of camaraderie, almost as if this was the product of a collaboration between close friends, rather than a purely professional endeavour, which can be felt in the easygoing tone of the film, which only becomes more poignant as it plods along, taking with it some of the funniest work done by any of these actresses. They all complement each other with such earnest sincerity, it’s surprising they weren’t brought back for more frequent collaborations until very recently – not only do they have incredible chemistry, they seem to be genuinely fond of each other, and make a formidable trio that can essentially lay claim to having found success in every area of the performing arts. 9 to 5 may not be the crown jewel in any of these actresses’ careers, but its certainly some of their most fun work, and they’re all so much fun throughout the film, finding the depth in characters that could’ve been nothing but thinly-veiled archetyped had these performers not been in charge of bringing them to life.

It’s not quite right to say that 9 to 5 is the definitive film on feminist issues (as has been strangely suggested from time to time), since this had been a hot-button issue for decades, both behind the camera and in front of it, with coverage of some deeper questions on the role of women in the workplace and in society as a whole being the subject of innumerable films. However, this is certainly one of the more memorable examples of it, since it dares to be a comedy. Fonda has spoken about initially envisioning this project as a straight-laced drama, with a more serious tone and approach to the material – and considering how so much of 9 to 5 depends on the hilarity that comes when these women find themselves in a precarious position after rebelling against misogyny and harassment, it’s difficult to imagine how a more subdued version of this story would’ve fared. This film works because it gives us the chance to be entertained, while it very openly infuses a socially-charged message into every frame. It may occasionally be clumsy – it reaches for some conclusions far faster than normal, as a means to expedite the process and have it moving along – but it all works in context, being carefully curated, so as not to become too overt in its more ferocious social commentary, but also not neglecting to make sure to give the audience something to think about, which makes an enormous difference, especially with a film so clearly marketed as a much wider audience, many of whom may have had their own perspective changed by this film’s message – it’s a film that means a lot more than it appears to, and gradually only grows in brilliance the further we see it venture into the heart of a very meaningful premise.

Speaking on the subject of 9 to 5 is rarely ever anything other than absolutely delightful – this is a film that has pervaded multiple generations, empowered an enormous array of individuals to fight for what they deserve, and overall just an absolutely enjoyable comedy that carries a very clear message in both its intentions and execution. There really isn’t much to unpack about the film – Higgins takes a simple but effective premise and weaves pure gold from what could’ve easily been a more heavy-handed comedy that tries to look at social issues in a forthright manner. Instead, through employing a sophisticated sense of comedy, a sardonic but lovable satirical edge, and three incredible performances in its leads (not to mention Dabney Coleman, who is incredible as the perverted boss, and who rarely finds his way into discussions of this film and its merits, despite being very good in his own right), 9 to 5 is just a purely joyful experience that has an abundance of heart, an endless stream of jokes that never fall flat or come across as inauthentic or forced, and a wonderfully unique perspective that focuses less on tearing down the existing system, and more on being motivational and empowering to those who find themselves enchanted by this delightful comedy of manners, which has an equal amount of heartfelt humour and slapstick comedy, enough of both to satiate absolutely any viewer and allow them to glean some value from this ambitious and unforgettable comedy that finds so much joy in simply exploring life through the perspective of delicate absurdism and a healthy dosage of comedic chaos to help everything move along and convey the inner message that is so wonderfully conveyed in every moment of this classic, a status that is beyond deserving for a film that dared to be different.