Frank Hart is a pig. He takes advantage of the women who work with him in the grossest manner. When his three assistants manage to trap him in his own house, they assume control of his department, and productivity leaps, but just how long can they keep Hart tied up?
Judy Bernly
Violet Newstead
Doralee Rhodes
Franklin M. Hart Jr.
Russell Tinsworthy
Roz Keith
Mr. Hinkle
Dick Bernly
Missy Hart
Barbara
Maria Delgado
Margaret Foster
Meade
Eddie Smith
Chuck Strell
Mr. Perkins
Norman Lane
I can't help but think that if some of the folks churning out the bad-ass "girl power" nonsense of the naughties were to look back at films like this; they might see a clear demonstration of what real girl power actually is... Jane Fonda, Lily Tomlin and Dolly Parton are three working women at various stages of the corporate food chain - presided over by their womanising , parasitic boss Dabney Coleman. Initially suspicious of each other, they unite over some of Tomlin's teenage son's weed and decide to take matters into their own hands. What follows is at times a laugh-out-loud comedy as they manipulate and reek revenge on their hapless, helpless boss. It could never be called subtle, but it does illustrate clearly that wits and guile are more than enough to achieve their aims without the need for long fight scenes; flashing their flesh and/or continuous bad language. The title song isn't bad, ether...
December 18, 1980
Judy Bernly
Violet Newstead
Doralee Rhodes
Franklin M. Hart Jr.
Russell Tinsworthy
Roz Keith
Mr. Hinkle
Dick Bernly
Missy Hart
Barbara
Maria Delgado
Margaret Foster
Meade
Eddie Smith
Chuck Strell
Mr. Perkins
Norman Lane
I can't help but think that if some of the folks churning out the bad-ass "girl power" nonsense of the naughties were to look back at films like this; they might see a clear demonstration of what real girl power actually is... Jane Fonda, Lily Tomlin and Dolly Parton are three working women at various stages of the corporate food chain - presided over by their womanising , parasitic boss Dabney Coleman. Initially suspicious of each other, they unite over some of Tomlin's teenage son's weed and decide to take matters into their own hands. What follows is at times a laugh-out-loud comedy as they manipulate and reek revenge on their hapless, helpless boss. It could never be called subtle, but it does illustrate clearly that wits and guile are more than enough to achieve their aims without the need for long fight scenes; flashing their flesh and/or continuous bad language. The title song isn't bad, ether...