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The film’s feminist trappings of an ’80s era Manhattan brothel provides the frame for a piercing commentary on the effects of American capitalism on women.
“Working Girls” could easily be adapted to be a modernday Broadway play.
It would be a sensation for its timeless qualities of social, sexual, and economic truth.
Molly (Louise Smith), a professional photographer, lives with her lesbian girlfriend when she isn’t working as a sex worker in a Manhattan brothel run by a domineering madam.
“Have you ever heard of surplus value?”
That theme line shoots like a sharp political dart when a character speaks it.
“All workers create more value at work than they receive in wages. The extra surplus value goes into the boss’s pocket as profit.”
Surplus value is “the surplus produced over and above what is required to survive, which is translated into profit in capitalism. Since the capitalist pays a laborer for his/her labor, the capitalist claims to own the means of production, the worker’s labor-power, and even the product that is thus produced.”
Female hands hold cups of coffee, count money, and remove cum-filled condoms.
Everyone chisels; there is no place to hide.
