1，前三十分鐘現(xiàn)實(shí)建構(gòu)部分，細(xì)節(jié)鋪墊較好，關(guān)鍵物品都埋有伏筆，節(jié)奏較慢，搞笑模式主要為人物與環(huán)境的不協(xié)調(diào)，三個(gè)主角此時(shí)也有矛盾和誤會(huì)。

2，第三十分鐘時(shí)，三個(gè)女人齊聚一堂，開始暢想，和老板的矛盾此時(shí)已經(jīng)成為本片關(guān)鍵情節(jié)點(diǎn)。隨手現(xiàn)實(shí)與想象發(fā)生連接，矛盾進(jìn)一步惡化。

3，結(jié)尾前半小時(shí)左右，主角團(tuán)與老板的矛盾以一種非現(xiàn)實(shí)的方式爆發(fā)（情節(jié)與前文的互相印證，使人產(chǎn)生了一種“匹配”的愉悅），但因前面幻想的鋪墊，觀眾此時(shí)愿意接受其中不合常理的部分，繼續(xù)沉浸在影像幻夢(mèng)之中。即將結(jié)尾時(shí)出現(xiàn)了一個(gè)緊急人物危機(jī)，但并未展開，處理也略為牽強(qiáng)。

前半段歡天喜地，atta girl～中段脫力，在朝著《末路狂花》人設(shè)的反方向狂奔，場(chǎng)景喜劇卻又不及《白頭神探》的處理手法，讓人有些恨得癢癢，好在演員遮住了一些。全片在敘事、價(jià)值傳遞上的訴求有些蓋過喜劇氣氛，這讓前面50分鐘的努力被愚蠢的人設(shè)剝奪了，不能忍。作為一部電影作品，脫力處實(shí)在太多太明顯，劇情拐點(diǎn)刻意，劇情銜接似乎被架空一般，人設(shè)也不討巧，明顯沒有強(qiáng)力編劇做出合適的結(jié)構(gòu)。作為一部娛樂片，卻又有著一點(diǎn)掩不住的光芒，包括彈性時(shí)間等理念，不清楚是不是由這里走出去。7分減一星

Three female company employees wage war against their“sexist, egotistical, lying, hypocritical bigot” boss in this prototype 80s sisterhood comedy, 9 TO 5 is the late Colin Higgins’ second feature film andflexes the muscle of female star power which not only brings down the house, but also sets alight its box office, the runner-up top-grosser of its year, second only to STAR WARS: THE EMPIRE STRIKES BACK.

The Fonda-Tomlin-Parton trinity embodies three different types of career women, Fonda’s Judy is a housewife grossly jilted by her ex-husband for his secretary, so she is the greenhorn in the workplace, prissy but not without wits and guts, her frilly entrance is remarkably incongruous with the rest, although her clash with the boss Frank (Coleman) is most tangential among the three, her personal victory climaxed when she blurts out to her feckless ex-husband that being dumped by him is the best thing ever happened to her.

Tomlin’s Violet is a widow with a brood of four,the assertive senior office supervisor who has plodded for years in the company, yet the promotion she deserves proves to be unattainable because of Frank's sexism, and aggravated by being ordered about like a servant by him, she has every reason to get back at him; Parton’s Doralee (her maiden picture, who also pens and belts out the Oscar-nominated title song), a corn-fed, bosomy secretary repulses the derogated stereotype as a boss-hunting schemer, who is indeed happily married and only humors Frank’s advancement for the sake of the job, but in the face of Frank blabbering blackmail, she is the one who is not hesitant to pinion him like a steer.

Truly, the triad enjoys a real blast together, initiated by a joint-influenced brainstorm about how each envisions a scenario to vent their grievance on Frank - here Higgins makes a good fist of genre conventions, whether it is a black-white mob thriller, a lasso-tossing oater or a Snow White animation with a dark spin, all are given a reality simulacrum later in the plot - and hits the mark during their hilarious blunder with the wrong body, although the resultant kidnapping idea is less wholly engaging for its yawning implausibility, not least when the deus ex machina comes about in the form of Sterling Hayden’s chairman of the board, publicly asks equal pay to be eliminated from the reform program, which is actually conceived by the triad and executed by forging Hank’s signature.

Nonetheless, 9 TO 5 is as delightful and jolly as one can get in a comedy that has something to say but consciously avoids any trace of indoctrination, all three leading ladies are having a field day, but for my liking Tomlin is the one gets an upper hand for her steely nerve and comedic timing; as the antagonist, a versatile Coleman eloquently exhibits shameless wickedness to the hilt, and lastly, Elizabeth Wilson has her own moment as a brilliant tittle-tattler, who perfectly encapsulates the entire farce with a precisely uttered“Holy merde!” to bring down the curtain in the coda.

referential entries: Higgins’ FOUL PLAY (1978, 5.4/10); Seth Gordon's HORRIBLE BOSSES (2011, 5.3/10).