#Patricia Resnick

[80smovies]

[warningsine]

[doyouknowthismusical]

[adamwatchesmovies]

9 to 5 (1980)

Before I hit play and began watching 9 to 5, I had a pretty good idea of what I was getting into. I’d heard the Dolly Parton song of the same name, knew roughly what the story was about and was aware of the film's cult following. I certainly didn't expect to feel cold towards it. This comedy has its moments for sure. I just kept thinking that the film could’ve - should’ve - gone in and been tougher or darker or made its point more aggressively. Instead, it's being content with merely dipping its toe into the ideas it brings up.

While bonding over their mutual hatred of their sexist, egotistical, lying, hypocritical bigot of a boss, former housewife Judy Bernly (Jane Fonda), mother of four Violet Newstead (Lily Tomlin) and secretary Doralee Rhodes (Dolly Parton) fantasize about what it would be like to teach Frank Hart (Dabney Coleman) a lesson. When a misunderstanding leads Violet to believe she’s poisoned him, they scramble to find a way to cover up their “crime”.

As a film debut, Dolly Parton couldn’t have asked for much more. She proves herself a natural comedienne, easily keeping up with her co-stars. She’s charming through and through. She also gets to show off her skills as a singer - there's a reason that titular song is still playing on the radio. The film's best scenes have Frank manufacturing scenarios so that he can peer down Doralee's blouse. It makes you hate him even more than you already do and endears you to Doralee even more than before.

It’d be one thing if Frank was good at what he did but everyone can see right through the big idiot (well, maybe except his secretary). The point when Judy, Violet and Doralee fantasize about what they’d like to do to him should fill you with all sorts of dark laughs - should. Whether or not the trio manages to get Hart to change his ways (or get him killed, either one will be satisfying), it won’t change the fact that all of the other Frank Harts are still out there. They're still harassing their female co-workers, rounding up toadies to ensure they are never punished for doing so, handing out promotions to unqualified men rather than the hard-working women who have been around them for years, etc. Frank is not a character; he's an idea. You want an impossibly ridiculous vengeance to rain down upon him; you want your fantasy to come true but the picture just doesn't go that way. To be fair 9 to 5 does abandon all pretense of realism but it eventually turns into a light-as-air comedy, which just doesn’t feel right.

9 to 5 gets very silly, which makes it inoffensive and easily digestible to just about anyone - except maybe dedicated misogynists and Ronald Reagan, who strongly disapproved of a scene in which the girls smoke marijuana. I can't say whether the decision to be light and breezy was right for 1980. Today? It disappoints. 9 to 5 left me wanting a lot more. I expected a laugh-out-loud comedy that also hit as hard as a sledgehammer between the legs; I wanted to see a provocative, memorable comedy. That's not what you get. Still, I would give it another go to see if lowered expectations might change how I feel. (On DVD, October 9, 2021)

[the-blue-fairie]

There was virtually no script for the film, so she was tasked with writing her own dialogue. It's estimated that she personally came up with about 80% of it.

Interview footage with Shelley Duvall: "Yes, I did, I did a lot of writing myself. Um- Bob allows you that freedom and like, for instance, one day at lunch, he said, 'Okay Duvall, you can't have lunch today,' and I said, 'Ah!' and he said, 'You have to write the scene for this afternoon,' so I went and I got my lunch and I sat in a room by myself and I wrote the scene."

She also costumed Millie and decorated Millie's apartment, shaping that gaudy yellow motif that defines her. In other words, the Millie we see was not simply born from the mind of Robert Altman, but sculpted very much in collaboration with Duvall to an even greater extent than her previous characters. The scale of her involvement, to me, certainly calls into question the way we attribute works to so-called auteurs of cinema. - Be Kind Rewind, Shelley Duvall: The "Unconventional" Muse

Patricia Resnick 🤝Shelley Duvall - (doing extensive work on 3 Women and Robert Altman getting the "writer/producer/director" credit)

@ariel-seagull-wings @themousefromfantasyland @thealmightyemprex

[ulkaralakbarova]

Once called “Father Frank” for his efforts to rescue lives, Frank Pierce sees the ghosts of those he failed to save around every turn. He has tried everything he can to get fired, calling in sick, delaying taking calls where he might have to face one more victim he couldn’t help, yet cannot quit the job on his own. Credits: TheMovieDb. Film Cast: Frank Pierce: Nicolas Cage Mary Burke: Patricia Arquette Larry Verber: John Goodman Marcus: Ving Rhames Tom Wolls: Tom Sizemore Noel: Marc Anthony Nurse Constance: Mary Beth Hurt Cy Coates: Cliff Curtis Nurse Crupp: Aida Turturro Dr. Hazmat: Nestor Serrano Rose: Cynthia Roman Kanita: Sonja Sohn Cokehead: Larry Fessenden Captain Barney: Arthur J. Nascarella Dispatcher (voice): Martin Scorsese Dispatcher Love (voice): Queen Latifah Drug Dealer: Michael Kenneth Williams Voice in Crowd: Craig muMs Grant Mr. Oh: John Heffernan ICU Nurse: Judy Reyes Griss: Afemo Omilami Mr. Burke: Cullen O. Johnson Sister Fetus: Julyana Soelistyo Neighbor Woman: Graciela Lecube Neighbor Woman: Marylouise Burke Mrs. Burke: Phyllis Somerville Neighbor Woman: Mary Diveny John Burke: Tom Riis Farrell Arguing Russian: Aleks Shaklin Arguing Russian: Leonid Citer Man with Bloody Foot: Jesus A. Del Rosario Jr. Big Feet: Bernie Friedman Prostitute: Theo Kogan Prostitute: Fuschia! Mr. Oh’s Friend: Matthew Maher Mr. Oh’s Friend: Bronson Dudley Mr. Oh’s Friend: Marilyn McDonald Homeless Man in Waiting Room: Ed Jupp Jr. Homeless Man in Waiting Room: J. Stanford Hoffman Concerned Hispanic Aunt: Rita Norona Schrager Naked Man: Don Berry Street Punk: Mtume Gant Grunt: Michael A. Noto Bystander: Omar Scroggins Stanley: Andy Davoli Miss Williams: Charlene Hunter Club Doorman: Jesse Malin I.B. Bangin’: Harper Simon Drummer: Joseph Monroe Webb Club Bystander: Jon Abrahams I.B.’s Girlfriend: Charis Michelsen Dr. Milagros: Lia Yang Arrested Man: Antone Pagán Bridge & Tunnel Girl: Melissa Marsala Weeping Woman: Betty Miller Pregnant Maria: Rosemary Gomez Carlos: Luis Rodriguez Crackhead: Sylva Kelegian Dr. Mishra: Frank Ciornei Nurse Odette: Catrina Ganey Nurse Advisor: Jennifer Lane Newman Police in Hospital: John Bal Police in Hospital: Raymond Cassar Drunk: Tom Cappadona Drunk: Jack O’Connell Drunk: Randy Foster Homeless Suicidal: Richard Spore Fireman: James Hanlon Fireman: Chris Edwards Police Sergeant: Mark Giordano Cop in Elevator: Michael Mulheren Cop in Elevator: David Zayas Cop #1: Terry Serpico Cop #3: Floyd Resnick Surgeon: Megan Leigh Screaming Man: David Vasquez ICU Doctor: Joseph P. Reidy Urchin Prostitute (uncredited): Erica Bamforth Child Zombie (uncredited): Peju Bamgboshe Policewoman (uncredited): Carolyn Campbell Club Kid (uncredited): Michael Carbonaro Catatonic Patient in Suede Coat (uncredited): Joe Connelly Cop #2 (uncredited): Brian Smyj Film Crew: Director: Martin Scorsese Screenplay: Paul Schrader Editor: Thelma Schoonmaker Director of Photography: Robert Richardson Producer: Scott Rudin Producer: Barbara De Fina Conductor: Elmer Bernstein Co-Producer: Eric Steel Boom Operator: Louis Sabat Casting: Ellen Lewis Associate Producer: Jeff Levine Unit Production Manager: Bruce S. Pustin First Assistant Director: Joseph P. Reidy Associate Producer: Mark Roybal Executive Producer: Adam Schroeder Still Photographer: Phillip V. Caruso Music Editor: Bobby Mackston Production Design: Dante Ferretti Costume Design: Rita Ryack Set Decoration: William F. Reynolds Art Direction: Robert Guerra Hairstylist: Joseph Coscia Key Hair Stylist: William A. Farley Makeup Artist: Jane DiPersio Hairstylist: Scott W. Farley Makeup Artist: Leon Weisinger Production Supervisor: Shell Hecht Script Supervisor: Martha Pinson Camera Operator: Vincent Galindez Stunt Coordinator: G. A. Aguilar Visual Effects Supervisor: Michael Owens Visual Effects Producer: Jill Brooks Construction Coordinator: Glen Pangione First Assistant Camera: Gregor Tavenner Steadicam Operator: Larry McConkey Wigmaker: Carol F. Doran Carpenter: James Cappello Chef: P.J. Haines Driver: Carlos Bernal Set Medic: Rich Fellegara Special ...

[theoscarsproject]

9 to 5 (1980). Three female employees of a sexist, egotistical, lying, hypocritical bigot find a way to turn the tables on him.

God, this movie is just wonderful. There's such a bounce to it in humour, in character, in plot, which carries it through even the more absurd plot points. It captures the way women are pitted against each other professionally and ground down by the heel of both the patriarchy and capitalism, while finding hope and joy in community and solidarity too. Magic stuff! 8.5/10.

[musicalsorwhatever]

“One of the Boys” is the thirteenth song and the act II opener in the 2009 Broadway musical 9 to 5. With music and lyrics by Dolly Parton, the book by Patricia Resnick is based on the 1980 film of the same name. The show was nominated for four Tony Awards, as well as the Grammy for Best Musical Show Album. This song is lead by Allison Janney, who was nominated for a Drama League Award and a Tony Award, and who won a Drama Desk Award for her performance as Violet.

[farminglesbian]

Nine to Five (1980) Colin Higgins

[susantyrrell]

“Susan Tyrrell and Lover on Pat Resnick’s Rooftop”, circa 1980-1981.

Photo by Eugene Pinkowski.

[80smovies]

[warningsine]

[whitewaterpaper]

Ärligt Talat / Straight Talk (1992) [US]

Ännu en film som ses ihop med @kulturdasset.

¡Oi! Spoilers, stavfel och alternativa fakta kan förekomma rakt föröver!

Den här komedin signerad Barnet Kellman är lite av en feelgoodfilm, med en underdog som tar det stora steget och flyttar från hembyn till storstaden och sedan hamnar på det ena bananskalet efter det andra och gör succé som radiopsykolog. Samma typ av feelgoodfilm som kanske ofta hamnar försvinner under radarn, Barnet Kellman har tydligen mest regisserat tv och kanske är det därför tonen i den här filmen känns lite anonym? Som om den är meningen att vara en del av en större helhet. Den här filmen skryter med Dolly Parton och James Woods på postern och Teri Hatcher i en rätt tidig roll. Trots sin paketering av en dussinfilm där Dolly Parton är filmens stora färgklick är det här en rätt trevlig och underhållande film. Visst är filmen lite tillrättalagd där skurkrollerna (Shirlees chef och journalisten Jack) liksom slätats ut en aning, men det är den typen av story där alla förlåter alla på slutet. Och som Shirlee själv anmärker så vill hennes lyssnare kanske främst prata av sig med någon, inte ha hela sitt liv fram till "nu" analyserat. Brad Fiedel står för filmmusiken som givetvis ramas in av ett gäng låtar av/med Dolly själv. Summan är iaf att den här filmen är lite bättre än vad dess 5,7p på imdb antyder.

[a-year-of-musicals]

Day 193/365 - 9 to 5: The Musical

By Dolly Parton and Patricia Resnick

As the clocks ring and the workers wake up, Violet, Doralee, and Judy prepare for work (9 to 5). The workers begin another mundane and hellish day at work under Franklin Hart, Jr., president of Consolidated Industries. Judy and Violet meet for the first time and Judy reveals she does not have any work experience, but Violet states she will be proud to train her and gives her a few tips and pointers for surviving office life (Around Here). Franklin Hart, Jr., is a domineering and equally lecherous man, who lusts after his secretary, Doralee, and has no shame in making those feelings known, which discomfits Doralee (Here for You). Judy is having major issues on her first day, such as being unable to work a Xerox machine, and feels there is something more inhibiting her. All three women, in separate settings, share mutual feelings, but all feel they can overcome it and make it all work out in the end (I Just Might). A new day rises upon the begrudged workers of Consolidated and life resumes as normal. Around the lunch hour, Doralee and Judy speak for the first time as Doralee asks Judy to go to lunch with her, but Judy subtly refuses and Doralee doesn't know why. She then reflects on her whole life, about just being a pretty face and nothing much more (Backwoods Barbie). Violet is passed over for yet another promotion, which angers her since it is somebody that she personally trained. After a heated confrontation in Hart's office, Doralee finds out about Hart's rumor about their supposed 'affair', which infuriates her to the point of threatening him. All three of the women, who are now seemingly united in their contempt for Hart, go back to Violet's house and light up a joint. Suddenly, each woman lapses into a murderous fantasy involving Mr. Hart; Judy as an unforgiving femme fatale (The Dance O' Death), Doralee as a crack rodeo star (Cowgirl's Revenge), and Violet as a deranged Snow White (Potion Notion). All of these sadistic fantasies soon culminate into a celebration of Hart's death, which is quickly nixed after Hart is discovered alive (Joy to the Girls).

The next day at the office, Violet unwittingly acts out her fantasy and believes she put rat poison into Hart's coffee. They all go to the hospital in panic, but learn he was never there. Roz overheard the ladies in the bathroom and tells Hart, who concocts a plan to scare them by pretending he was actually poisoned and to threaten them with the police. After Hart leaves, Roz sings a song confessing her obsessive love and fantasies for him (Heart to Hart). Hart confronts Doralee with the information and Doralee, acting on a fight or flight instinct, rips the phones out and ties up Hart with the wires, which he seems to get a quasi-sexual pleasure from. The women are seemingly puzzled as to what to do with Hart, but Judy and Violet create a plan in which they will imprison Hart in his own house. As they are carrying out their plan, they sing to Hart their issues with him and the problems in their own lives, but will begin to make the changes in their lives and have confidence to succeed (Shine Like the Sun). The women, empowered, have restrained Hart to a mechanical harness above his bed.

After the Entr’acte, in Hart's office the three women are pondering on how they can keep the office in the dark about Hart's disappearance, when Doralee's skill of being able to forge Hart's signature comes into play. Judy and Doralee both point out to Violet that she is, in a sense, the new Operating Officer of the company. Violet then lapses in a fantasy and sings a song about she is now a hard-hitter like the rest of the male employees who seem to rank above the women (One of the Boys). Roz begins to get nosy and wonders where Hart actually is, which creates a new obstacle for the ladies to rid. Judy formulates the idea to send Roz to a one-month language seminar to learn French, which isn't necessary and is only a way to get rid of her. Roz receives the memo from Violet and is heartbroken, because she believes that Hart doesn't like her, and that the time she isn't at work is lonely and boring (5 to 9). As Hart is still strung up in his bedroom, he passes time by watching countless hours of soap operas. Doralee enters to give him a meal and Hart lashes out at her saying that he still has the control and will use it when he is free. Doralee brushes him off and leaves the room. Hart begins to recount how most of the men in history had "downfalls" by women and that he is no different, which angers him (Always a Woman).

Back at the office, the new changes the women have made under Hart's name have seemed to ease the workers' lives and changed their outlook on work (Change It). Joe, who has shown admiration toward Violet through the show, asking her out many times, confronts her and asks why she rebuffs him. She claims she was a "one-man woman" and that her husband's death three years before has prevented her from dating again. Joe tells her that it is time to move on and possibly give someone new a chance (Let Love Grow). Violet accepts, as they walk out of the scene holding hands. Later on that evening, Judy's ex-husband, Dick, shows up at Hart's house and asks her to take him back since his secretary girlfriend dumped him. She rebuffs him and states she is a changed woman who will not crawl back to someone who broke her heart, showing strength as she orders him to leave (Get Out and Stay Out).

The next day, Hart storms into the office with Judy hostage, which shocks the women, who have collected evidence about Hart's "creative accounting" and embezzling practices to use against him. The women, seemingly defeated, prepare to submit to Hart's wishes when they learn that the CEO of Consolidated, Mr. Tinsworthy, is paying a visit. The women and Hart meet Tinsworthy, who, after noting the changes in office life, gives the credit to Hart. Violet and the others step up and say they made the changes, but are shot down. However, in a comedic twist, Tinsworthy sends Hart to manage the South American branch in Bolivia. Violet is then promoted to Hart's position as President of the company and a celebration ensues, while Roz is devastated over the loss of her obsession. The characters deliver epilogues about what happened after the events of the story (Finale: 9 to 5 Reprise). Hart was captured by natives in the jungles of Bolivia and was never seen or heard from again. Roz found a new love - Hart's wife. Violet and Joe have been together for the past 30 years and are very happy together. Doralee went to Nashville and became a successful country and western singer. Judy is single and loving it and wrote a bestselling book, Life Without Dick.

This is such a funny and clever idea - I’m sure everyone will sympathise with frustration in the workplace and these ladies handle it creatively!

Favourite Songs: Nine To Five, I Just Might, Backwoods Barbie, Cowgirl’s Revenge, Heart to Hart, Shine Like The Sun and Get Out And Stay Out

Favourite Character: Doralee

She tied up her boss with the phone wires, held him captive and became a country and western star!

[amcinematheque]

WGAW Gorundbreakers -  Double Feature! Writer Patricia Resnick In Person!

9 TO 5 (1980) THELMA & LOUISE (1991)

Sunday, January 28 - 7:30PM, Egyptian Theatre, Hollywood, CA

TICKETS

Presented by the American Cinematheque and the Writers Guild of America, West, as part of the Groundbreakers: Screenwriters Who Moved Hearts & Minds screening series. Sponsored by Final Draft.

Discussion between films with 9 TO 5 writer Patricia Resnick.

9 TO 5 - 1980, 20th Century Fox, 110 min, Dir: Colin Higgins

This classic from screenwriter Patricia Resnick and director Colin Higgins (writer of HAROLD AND MAUDE and director of SILVER STREAK) brilliantly brings together three of Hollywood's favorite female stars - Lily Tomlin, Jane Fonda and Dolly Parton - in an uproarious office farce. At Consolidated, the office manager (Tomlin), the vice president's secretary (Parton) and the newest employee (Fonda) plot revenge against their sexist, egotistical and hypocritical boss Franklin Hart Jr. (Dabney Coleman). The scheme spins wildly out of control, forcing them to keep Hart tied up as they take over the company and run it their own way. Full of witty one-liners, great ’80s outfits and an unforgettable soundtrack (including Parton's Oscar-nominated title song), this delightful, insightful comedy is so much fun "it'll drive you crazy if you let it."

THELMA & LOUISE - 1991, Park Circus/MGM, 128 min, USA/France, Dir: Ridley Scott

Thelma (Geena Davis) and Louise (Susan Sarandon) take a fishing trip to get away from their dead-end relationships, only to end up dispatching a would-be rapist. This results in a cross-country rampage on the lam from the law, all culminating in one of the most daring, simultaneously uplifting/downbeat climaxes ever recorded on film, due in no small part to Ridley Scott’s expert direction and Callie Khouri’s gutsy script. With Harvey Keitel and a young Brad Pitt in his breakout role.