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RHINESTONE has simply got to be one of the worst movies I've ever seen. But yet I loved it when I watched it.I like “Rhinestone “ too.
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I’ve always described it as “Entertaingly Bad.” Loved watching it but not sure why to be honest.
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Madonna was good in Desperately Seeking Susan, but I don't if there was a lot of actual acting there. It's really Roseanna Arquette's movie, acting wise. Madonna's fun, though.
Regarding Dolly as an actress, I thought she was very good in Steel Magnolias and 9 to 5. The other other movie I've seen her in was Straight Talk, which wasn't great, but not terrible.
I bet Dolly could shine in the acting department, but her big personality and presence might get in the way, if that makes any sense. I'm not knocking her at all. I think she's awesome and an American treasure. She's a pleasure to watch in everything. If I was an interviewer I'd ask her how she navigates the "Dolly" persona and true acting in which she's not playing a character similar to herself.
By the way, has she ever played a role completely different from her persona?
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This BKR video from You-Know-Where does a good job of deciphering Dolly's film career. I don't always agree with everything the head behind BKR says, but she does make some solid and interesting points concerning Dolly's relatively short-lived movie career.
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Where's the thread: GRETA GARBO -- HER NASHVILLE WARBLINGS...?
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I loved Rhinestone (1984) growing up i dunno about now as i haven't seen it in years. growing up i never got why people hated the film who knows maybe now if i watch it now i will think it's utter shit ? i've been listening to some of her albums lately (1967-1972) i'm up to she really put out certain songs in the late 60's that i'm amazed actually got released. Just Because i'm a woman (1968) for example is about a woman who is talking to her let's say BF and he's wanting to know how many guys she's slept with before him and than is pissed cause he wasn't her 1st. or something like that, than you have one called 'the Bridge' where a woman's husband and son die and she kills herself cause she wants to be with them the song ends with her jumping now that's pretty dark.
i can respect her for doing stuff like that way ahead of her time back than when nobody was doing it. there's another one called Gypsy, joe and Me where it's about a woman who's dog gets hit by a car and who's husband dies from sickness and so she again kills herself cause she wants to be with them a pretty good song actually.
i can respect her for doing stuff like that way ahead of her time back than when nobody was doing it. there's another one called Gypsy, joe and Me where it's about a woman who's dog gets hit by a car and who's husband dies from sickness and so she again kills herself cause she wants to be with them a pretty good song actually.
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Dolly Parton has passed:
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I couldn't classify myself a big fan of Dolly as a performer because I've mostly been indifferent to Country, but I am a massive fan of hers as a person. She has seemed like the nicest, most decent person who ever became famous. She's also been famous and relatively unchanging my entire life, a stalwart pop culture fixture. The world will be a little bleaker without her in it.
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Wild Texas Wind (1991) was a NBC made for tv movie about a singer of a band that becomes involved with a band manager that ends up dating and abusing her.. and he ends up dying and you have to guess who the killer is. It's got music, fashion, a mystery, and a chance for Dolly to do some acting because she's playing an abused woman that had grown up seeing her mother being abused.
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NINE TO FIVE (as it styled on-screen, even if all promotional material calls it "9 to 5") is currently streaming on Netflix. I decided to re-watch it in wake of Dolly's recent passing. My mother and I had a copy of this movie on DVD that we got from our local Dollar General for like $3, and we used to watch it on an almost endless loop. It was one of our favorites there for a good while.
Upon this revisit, I must admit, I still thoroughly enjoy the movie. The scenes in the hospital and the entire scenario surrounding the alleged poisoning of Mr. Hart by Violet with the rat poison is hilarious. The bits of the trio of women trying to figure out what to do at the hospital when they believe Mr. Hart to be dead and the aftermath to the realization that they've stolen the wrong corpse is some of the funniest stuff I've seen in a movie. It's pure comedy gold.
Having moved into the corporate workforce myself, I can appreciate NINE TO FIVE on a different level than I did when I watched it years ago. Who hasn't had a boss or supervisor that drives you crazy and you wish would just go away? I've had a few. And, in some cases, certain superiors have major headaches and caused severe mental and even emotional stress. I once straight quit a job because I had been lied on multiple by co-workers that just weren't welcoming to newcomers.
That aside, NINE TO FIVE is very well-paced, well-written, and above all, it's perfectly cast. I must say my favorite of the lead trio is Lily Tomlin as Violet. Her comedy timing is spot-on ("I'm no fool, I killed the boss! You don't think they're going to fire me over something like that!?"), and she is a master at the double-take and side-eyeing. Dabney Coleman as Mr. Hart would have to come in second. Like Tomlin, he can deliver a line ("Oh, I'm sorry, Violet. I'm just about to play my last card and send you three b****es to jail"), and he is quite funny when he is in panic mood. Jane Fonda is quite good as new-hire Judy, but I've never been a major fan of her overall. That said, she does have a few genuinely funny moments throughout the movie ("Oh, my God. This is so improper"). And Dolly is... well, she's Dolly. But she is actually very fun in the movie ("Oh, honey, I think Violet has flipped out"), and appears very natural on-screen. Her lack of experience as an actress creeps through sometimes, but the issues aren't major.
The supporting cast has a lot of well-known character actors in memorable roles: Sterling Hayden as Russell Tinsworthy, the chairman of the board for the company everyone works for; Elizabeth Wilson as Roz, the executive that is infatuated with Mr. Hart; Henry Jones as Mr. Hinkle, the president of the company; Marian Mercer as Hart's clueless, but likable wife Missy; Peggy Pope as "the old lush" Margaret Foster, whose signature line is, "Atta girl!"; and Earl Boen as Perkins, Tinsworthy's company spy.
There are, for me at least, a few minor issues with NINE TO FIVE that I didn't even care about years ago. For one, the friendship between the lead trio -- Violet, Judy, and Doralee -- seems a little random. They make it where Violet and Judy are friendly right away, but they are against Doralee at the start of the movie because they think she's having an affair with Hart. But then that just .... goes away, and they are all friends. It's a nitpick, I know, but it bugged me a little this time. And then there's the fantasy sequences where Violet, Judy, and Doralee fantasize about turning the tables on Hart. I've always skipped those when I watched the movie before, and I skipped them during this re-watch, too. I've never cared for them, and I haven't any personal desire to see them.
Outside of that, any gripes about NINE TO FIVE would be nitpicks and come down to my own personal preferences and pet peeves.
I enjoyed the re-watch. You go do the same and let me know what you think.
Upon this revisit, I must admit, I still thoroughly enjoy the movie. The scenes in the hospital and the entire scenario surrounding the alleged poisoning of Mr. Hart by Violet with the rat poison is hilarious. The bits of the trio of women trying to figure out what to do at the hospital when they believe Mr. Hart to be dead and the aftermath to the realization that they've stolen the wrong corpse is some of the funniest stuff I've seen in a movie. It's pure comedy gold.
Having moved into the corporate workforce myself, I can appreciate NINE TO FIVE on a different level than I did when I watched it years ago. Who hasn't had a boss or supervisor that drives you crazy and you wish would just go away? I've had a few. And, in some cases, certain superiors have major headaches and caused severe mental and even emotional stress. I once straight quit a job because I had been lied on multiple by co-workers that just weren't welcoming to newcomers.
That aside, NINE TO FIVE is very well-paced, well-written, and above all, it's perfectly cast. I must say my favorite of the lead trio is Lily Tomlin as Violet. Her comedy timing is spot-on ("I'm no fool, I killed the boss! You don't think they're going to fire me over something like that!?"), and she is a master at the double-take and side-eyeing. Dabney Coleman as Mr. Hart would have to come in second. Like Tomlin, he can deliver a line ("Oh, I'm sorry, Violet. I'm just about to play my last card and send you three b****es to jail"), and he is quite funny when he is in panic mood. Jane Fonda is quite good as new-hire Judy, but I've never been a major fan of her overall. That said, she does have a few genuinely funny moments throughout the movie ("Oh, my God. This is so improper"). And Dolly is... well, she's Dolly. But she is actually very fun in the movie ("Oh, honey, I think Violet has flipped out"), and appears very natural on-screen. Her lack of experience as an actress creeps through sometimes, but the issues aren't major.
The supporting cast has a lot of well-known character actors in memorable roles: Sterling Hayden as Russell Tinsworthy, the chairman of the board for the company everyone works for; Elizabeth Wilson as Roz, the executive that is infatuated with Mr. Hart; Henry Jones as Mr. Hinkle, the president of the company; Marian Mercer as Hart's clueless, but likable wife Missy; Peggy Pope as "the old lush" Margaret Foster, whose signature line is, "Atta girl!"; and Earl Boen as Perkins, Tinsworthy's company spy.
There are, for me at least, a few minor issues with NINE TO FIVE that I didn't even care about years ago. For one, the friendship between the lead trio -- Violet, Judy, and Doralee -- seems a little random. They make it where Violet and Judy are friendly right away, but they are against Doralee at the start of the movie because they think she's having an affair with Hart. But then that just .... goes away, and they are all friends. It's a nitpick, I know, but it bugged me a little this time. And then there's the fantasy sequences where Violet, Judy, and Doralee fantasize about turning the tables on Hart. I've always skipped those when I watched the movie before, and I skipped them during this re-watch, too. I've never cared for them, and I haven't any personal desire to see them.
Outside of that, any gripes about NINE TO FIVE would be nitpicks and come down to my own personal preferences and pet peeves.
I enjoyed the re-watch. You go do the same and let me know what you think.
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I loved NINE TO FIVE as a kid and watched it endlessly. As an adult, I find it messy. It starts off as a grounded comedy of white collar worker resentments, detours into outlandish fantasies, and ends with increasingly chaotic slapstick. It flirts with dark ideas but is too broad & goofy to have the bite of satire.
Its curiously undisciplined comedy aside, it's a fun film that's buoyed mostly by the immensely likable Parton and Tomlin. I've never been wild about Fonda, outside of some of her early to mid 60s films.
Its curiously undisciplined comedy aside, it's a fun film that's buoyed mostly by the immensely likable Parton and Tomlin. I've never been wild about Fonda, outside of some of her early to mid 60s films.
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I saw it in the theatre in 1980. That was my reaction then. I think I saw it a second time on early cable.
It's kind of meh. My grandfather hadn't been to the movies in years, so my aunt took him to see it because he liked Dolly Parton (even though he was not really a country music guy) but he was disappointed in her "language" in the film. (My aunt took him out to see E.T.: THE EXTRA-TERSTRIAL a couple of years later, which he loved, and she later bought him the VHS).
I'm alright with Fonda, and some of her performances. But her nervous warbling speaking voice gets on some people's nerves. (AGNES OF GOD was ruined by its shrieking period synthesized music score). BARBARELLA is boring. I like her in KLUTE. I like COMING HOME a lot, but Bruce Dern's hair is too long for a service man, and I haven't been able to watch it since Jon Voight's shift to the political hard right -- but I'll eventually re-embrace it. (I just had to wait). Same with MIDNIGHT COWBOY (I also came home from NTC on a bus, but nobody died).
Fonda's just Fonda. I mostly accept her. Although her foolish, "'Woke' just means you give a damn about people!" rant a couple of years ago, though unsurprising, shows she's as tone deaf as ever -- if not moreso. But expecting Gloria Steinem to grumble on her deathbad that "Some women are just bitches!," is equally unrealistic.
"If feminism means each of us finding our unique power, and helping other women do the same, Dolly Parton certainly has done both".
Gloria Steinem, 1987
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Dolly posthumously replying to music award yesterday. Was on BBC news tonight and found this clip online
RIP Dolly x
RIP Dolly x
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The movie does sorta shift tones after the women team up together. For me, had they just gotten rid of the fantasy sequences, it would've been even better. The slapsticky stuff doesn't really bother me. I felt like that was brought in well enough.
Of the leads, Tomlin and Parton definitely outshine Fonda. Funny, too, since the movie was Fonda's idea.
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Well, Fonda's not really a comedic performer. Tomlin obviously is, and Dolly, too.
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BARBARELLA isn't much of a film, but I think Fonda is smashing in it. Every film of hers that I've seen from the 60s, I'm always struck by how vibrant she was -- dynamic, sexy, warm. From the 70s onward, she always seems so tense. I get the leap to respectability, but she sucked every ounce of joy from her acting.
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Well, you've got to get that victimy perseverant elocution down right; otherwise, those Oscars just aren't coming. If you continue appearing to have too much fun, then you're no longer taking somebody's oppression --- yours, mine, hers, whoever's --- seriously.