This independent feature film by Lizzie Borden, shot in mock- documentary mode, highlights a day in the life of a prostitute or "working girl". Using little-known actors, the film gives the impression that everything taking place is real--but this is only a movie. (A point you may have to impress upon outraged patrons.) The story centers on Molly (Louise Smith), a college girl, who's working to put herself through school. Emotionally ranged on either side of her are Dawn, an outspoken teenager, and Gina, the ultra-calm working woman. Although the film has numerous sexual scenes, they are not erotic. For example, when Molly is asked by a john to play a blind girl whose sight is restored by her "first" sexual experience, her hand fumbles around on the nightstand--while her eyes are closed--expertly finding a condom. This kind of offbeat humor is the modus operandi of the film. Interestingly enough, the real conflict is not male/female, but between the call girls and their madam (whose humorous refrain: "Oh, hi, (Bob, John, Miles, etc.), what's new and different?" accumulates comic power). Working Girls contains full frontal female and male (though lesser) nudity, and strong sexual content. Recommended. (R. Pitman)[DVD Review—Sept. 4, 2007—First Run, 94 min., not rated, $24.95—Making its second appearance on DVD, 1986's Working Girls sports a mediocre transfer. DVD extras include an audio commentary (with director Lizzie Borden, cinematographer Julie Irola, and costar Amanda Goodwin), a photo gallery, and trailers. Bottom line: a solid extras package for a winning film.]
[Blu-ray/DVD Review—July 28, 2021—Criterion, 93 min., not rated, DVD: $29.95, Blu-ray: $39.95—Making its latest appearance on DVD and debut on Blu-ray, Working Girls (1986) features a newly restored 4K digital transfer and extras including a 2007 audio commentary featuring Borden, director of photography Judy Irola, and actor Amanda Goodwin; a new conversation between Borden and filmmaker Bette Gordon; a new conversation with actors Louise Smith and Amanda Goodwin, producer Andi Gladstone, and first assistant director Vicky Funari; a new conversation with sex workers Antonia Crane, Daphne Nguyen, Selena the Stripper, and Jo Weldon; and a booklet with an essay by author So Mayer and excerpts from a 1987 interview with Borden by film critic Scott MacDonald. Bottom line: Borden’s documentary-like portrait of sex workers remains a seminal indie film that still packs a sociological punch.]