Product Descriptioninsight, and honesty.
WINNER - SPECIAL JURY PRIZE
SUNDANCE FILM FESTIVAL
SEX. MONEY. KINKY CUSTOMERS. LUNCH.
FOR THESE GIRLS, IT S ALL IN
A DAY S WORK.
FEATURES &
BONUS MATERIALS
Widescreen Presentation
(1.66:1) enhanced for 16x9 TVs
Audio Commentary with
Director Lizzie Borden, Director
of Photography Julie Irola and
Star Amanda Goodwin
Theatrical Trailer - Actors: Richard Davidson, Amanda Goodwin, Martin Haber, Ellen McElduff, Frederick Neumann
- Aspect Ratio: 1.66:1
- Audience Rating: NR (Not Rated)
- Format: Color, DVD-Video, NTSC, Widescreen
- Language (Original Language): English
- Region Code: 1
- Release Date: 2007-08-21
- Running Time: 93 minutes
- Theatrical Release Date: 1986
Customer ReviewsReviewed on 2007-10-25  
Bongo wants to take a show.
Working Girls (not to be confused with the singular and singularly awful Mike Nichols movie that features Melanie Griffith vacuuming a carpet, nakedly) is an easily underestimated accomplishment, and despite the rampant nudity and unblinking depictions of adult sexuality, a guaranteed sex-deterrent.
It's hilarious, embarassing, grim, deeply disturbing, cynical, touching, clinical and creepily locker-room-intimate, all at the same time.
There will be those people who can't make it past the low budget vibe that (admittedly) permeates the whole movie, but anyone who criticizes its occasionally stilted acting (and it's an easy target) misses the point: it's PROSTITUTION. Which is to say that paid sex is possibly the root source of all bad acting. Even having said that, the performances are deceptively understated in their squirmy, quasi-nude ease.
The characters of Lucy and Dawn especially, are horrifically too-true. I walked around mimicking Lucy's idiotic "What's new and different?" for weeks. Dawn's gum-snapping hostility, and her impromptu James Brown imitation ("Good God, Mollie- you're a whoooore!") are as grating as they are winning. Singling these two actresses out is unfair though; their characters are especially dynamic, given that they're essentially opposing ends of the same spectrum of self absorption.
Even the least likely supporting roles are realized with unexpected complexity. Witness Lucy, the house's madam, reprimanding Mary, a mousy new 'girl' for her unappealing wardrobe choice on her first night on the job. When Lucy reminds her condescendingly that she is to dress as though she "just came from lunch with her mother, and is on hew way to meet her boyfriend for drinks", Mary replies in a small voice, with a discomfiting mixture of stubborness and shame, "This is what I wore."
Possibly the most remarkable aspect of this movie is the realization that prostitution, at least at this elevated level (the 'girls' work in a clean, modern apartment, and schedule 'appointments' through phone ads listed mostly in upscale skin magazines) is just another daily grind, a job, plain and simple. Ellen McElduff's Lucy is every thoughtless, self-absorbed boss you've ever wanted to throttle; the difference is that she's seen you naked, and can talk about your sex life with no legal repercussions.
That's glib, of course; each of the 'girls' is seen to struggle with the work, and what it means in a larger sense, politically and personally. Finally though, just as it seems uncompromisingly grim, the film sneaks in a remarkable twist. It's essential to watch to the very end of the closing credits though, or you might miss a moment that offers a lovely moment of reassurance, and tender domesticity. |  | Reviewed on 2007-09-01
Working Girls - A fictional documentary?
I remember seeing this film in the theaters when it was first released over 20 years ago (1986) based on the TV review by Siskel & Ebert. But I couldn't remember if it was a documentary or a fiction piece. Now that it's on DVD from First Run Features, it was time to revisit it.
As I realized once the film started, this is a totally scripted film using unknown actors. The writer and Director is feminist Lizzie Borden and the lead female character, Molly (played by the best actress in the film - Louise Smith) is a lesbian turning male tricks. So the women have more interesting lives than the men characterized in the film. The budget was low and there wasn't much that could be done to improve the quality of the image. I guess it fits the mold of the sexploitation films of the 1970s.
There really isn't a plot to speak of. The day starts, some of the hookers come and do their shift. Others call in sick and some work "OT". And then the day - and the film - ends and everyone goes home!
I made it through part of the commentary with Director Borden, the Director of Photography and one of the actresses. But, I can't say it added much.
It's still an interesting film to watch from a sociological angle to see the various reasons the men come to have their fantasies fulfilled. And you will get a glimpse as to how boring it must be to be a hooker as well as learn what the current "prices" were in 1987.
| | Reviewed on 2007-08-11
A Day's Work
"Working Girls"
A Day's Work
Amos Lassen and Cinema Pride
New from First Run Features is Lizzie Borden's "Working Girls", an in depth look at women who have sex for money. Let me start off by saying that I know that this is not a gay-themed movie but I have strong reasons for including it in my reviews. Many women who work as prostitutes are lesbians and this movie gives great insight into that aspect of the "business".
The film is about New York hookers and among them are Molly, a lesbian, with a degree from an Ivy League school, Dawn, a law student, Gina who wants to open he own beauty salon and Mary who just decided to give the gig a try. They work in a very exclusive Manhattan whore house and come into contact with everything as they take care of the needs of their clients--all kinds of men. To make this film, director Lizzie Borden ("Born in Flames") gave up six months of her life to interview real prostitutes so that you could bring to the screen a true picture of prostitution and she delivers an amazing look.
Molly, our Ivy Leaguer, is in her thirties and was looking for a change and finds herself highly involved in the sex industry. She is a lesbian that fakes it well and returns to her female lover after her tricks. She is an actress who s exceedingly clever and even chats with her clients after work is done. She seems to be caught in a trap. Even with her degree and opportunities for a real career, she stays on her job as a prostitute. Unlike the other girls who know their place and do not wish to rise above it, Molly cannot decide what she really wants. Because she is a lesbian, sex with a man, to her, is no more than an act. She does not, however, dismiss her male clients and even states that they have helped her get over her fear f men.
Lucy and Dawn have stories that are brutally true. Dawn displays overt hostility and she grates on the audience. These two girls are constantly at odds.
We have al kinds of women working in the profession--college girls, an aging Afro-American, just regular Janes. Directed by Lizzie Borden, a committed feminist, this is just he kind of film that gives us the real inside look at prostitution. Made on a low budget, with acting that may leave a little to be desired, here is a film that makes you think and quite possibly will cause you to change your mind about some aspects of the subject. It covers one day and there is a lot crammed into that short period of time. I felt that the movie was made by a person who had actually been there and seen it all happen.
When I first started watching I had the feeling that that the movie might have some kind of agenda but it does not. It asks questions which it does not answer.
What is interesting about the film is that it tackles its subject directly but it does not provide a reason as to why men prefer this kind of sex to another. Obviously the loneliness and boredom of the inner city is a factor and since there isn't only one type of client, there really isn't just one answer.
This is nowhere near a Hollywood movie--it is odd, it is original and it is refreshing as well as stimulating without being pornographic.
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