As Profissionais do Sonho

WORKING GIRLS is the farthest thing from a Hollywood film. One of the oddest, most original, and refreshing films I have ever seen. Stimulating, without feeling pornographic. Lizzie Borden handles the subject-matter well -- in her tender, loving woman-hands. I wish I could get MY HANDS on some of her other films -- BORN IN FLAMES was what I had in mind. There is an excellent chapter on her in John Russo's (book) MAKING MOVIES. WORKING GIRLS will embarrass those who are not comfortable with the darker side of their nature -- and will bore those who desire no substance, just the old in-out. WORKING GIRLS doesn't feel the least bit exploitive. I loved the film, and I wish that Lizzie was still making movies -- movies that could find their way to my local cineplex.

Just recently watched this independent film from 1986 called "Working Girls" and it kind of lives up to it's title showing how girls like this worked back in the day, yet while going thru it all return to life at the end of the work day or night shift. Set in New York city, it follows Molly who already has a family and live in female lover, yet on the side she moonlights as an escort in a house brothel which is ran by a madam. The scenes are blunt and call it erotic, exotic, and kinky as you see plenty of nudity and skin with little sex games that involve spanking, and being tied up!

All Along the dialogue shows Molly and the other black bra wearing escorts talking and dealing with customers while trying to navigate life also. Overall interesting and provocative film one that any film buff should watch and see as it shows even still in the end that Molly and these go against the grain ladies all wear masks yet they return to normal life in the end.

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, embarrassing, 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 her 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.

Molly is an over educated lesbian who works as a prostitute in order to save up enough money to start her own business. Her coworker prostitutes she works with have various other reasons for getting into this line of work. The johns are mostly upscale and have their own individual idiosyncrasies that are for the most part amusing. The director of the film is a feminist named Lizzie Borden. I expected a very biased treatment of this subject because of her gender politics but she was surprisingly fair and unbiased in her treatment. Despite some average acting the characters are so fascinating and dialog so engaging that the film had my attention all throughout which says much because there are many higher budgeted films with very large budgets and top talent that covered the same subject and not nearly as well. Working Girls is a good film and well worth a look.

Molly is a thirty something college educated sex worker looking for a change of career. However the sex industry seems to have a tight hold over her and her life.

Lizzie Borden is a committed feminist so the choice of making a film about a subject such a prostitution and sex is not an obvious one. While this is low budget, and some of the sideline acting amateurish, this a film that makes you think and maybe even change your views. While a lot is crammed in to the one day that it covers you get the feeling that is written by someone that has been there and seen it for real.

The central question is who is exploiting who here? The affluent clients that buys sex is sneered at and joked about ("here comes Fantasy Fred"): but only by women that are either too lazy to do something else or maybe too inefficient to find other work. Or maybe they couldn't stand the pay cut?

Here we have all types of "working girl" from the college girl to the ageing black girl that is never chosen despite her best efforts. It is not a job everyone can do and the film demonstrates this clearly and without sentiment.

Molly doesn't even like men in real life - being in a lesbian relationship, but fakes it well. Even doing a lesbian scene with a new girl and then denying her sexuality to her when questioned. Her life is one of a hands-on actress. She is cleverer than most and has "regulars" that chose her for her chat as much as her sex. They even give her their cards hoping that they will become friends in the real world - something that can never be. There is always that old white line.

I came to this film believing that it would have an agenda, but it doesn't. It asks questions, but it doesn't answer them. Should sex be bought and sold in modern day society? The female brothel owner believes that sex and money are the best things in society so "why not bring them together."

Molly seems trapped, despite her education and alternative career options. Yes she can do better, but can she make the break? The other girls are, in the main, different in that they know their place - they don't want to rise above it. Her lesbianism probably helps in that she isn't confused as to why a man is having sex with her - but at the same time she is dismissive of them and even claims that the job has helped her to get over her innate "fear of men." She is also not above cheating so she can keep more of the money she makes.

(In the sex industry stealing is different from stealing in the outside world?)

This is quite a unique film in that it takes on the subject in cold blood, but it doesn't seek to give any indication as to why men chose this type of sex over - say - masturbation. Nevertheless the boredom and loneliness of the inner city (New York) has to be a factor. Like there isn't one type of client, there isn't really one form of answer.

I started the film not knowing if Molly was a victim or not and ended up still not knowing. You can make your own mind up, but if she is a prisoner she is a prisoner of the love of the quick-buck that must be hard to break away from in today's high price world. I am glad I am not in her (high heeled) shoes now, then or anytime...