Say you’re doing a ride on the side of a lonely highway, and two cars slow down at once. Directed by Anton Chigur, Hackmet-haired serial killer Javier Bardem starred in “No Country for Old Men” for his Oscar-winning influence. On the wheels of the other, Blanco, the CEO of the gray prestigious factory, wrote “The Good Boss” by the same actor. Seems like an easy choice, though at the end of the next movie, you might be interested in taking your chances with Psychopath.
Blanco probably won’t kill you; At least not in your own hands. But with each chaotic plot of Spanish director Fernando Leon de Aranoir’s anti-corporate comedy, it becomes clear that Blanco is the most probable incarnation of pure evil: a man whose core principle, less personality, is named after him. Yet as Bardem played with the inspired combination of worldliness and danger তার his natural earthen charisma beneath the shapeless suiting, his perforated spectacles and a lanky, frozen swab of executive hair সে he curiously vibrated, and this fun-but-gaga. Needless to say, he would also draw international distributors to a comedy that could otherwise be quite local in terms of appeal.
“Don’t treat me like a boss,” Blanco told people with a thin gray smile. You shudder to think how quickly it will disappear if you do something. We first went to give a commemorative pep talk with the employees of his company, the industrial scale maker – Leon de Aranoa going to push for all his metaphorical value, because social imbalances abound in his busy story. With all the smiles and handshakes and repeated community mentions, it’s a performance for the benefit of a local journalist, to see the factory enlarged in a commissioned puff piece. But it’s a kind of rehearsal for a presentation that takes on a larger size in Blanco’s mind: a national committee will soon come to determine the company’s suitability for a prestigious business award, and everything will have to be perfect.
Once the visitors leave, it requires a little stricter household. Among the various downsizing measures, longtime employee Josসে (arscar de la Fuente) was briefly fired, and it did not go well: Ni est self, he set up camp on a strip of neutral land by the factory entrance, gradually increasing its volume in protest of one man. Within the walls of the factory, meanwhile, everything is far from Hankey-Dory. Blanco’s right-hand man, Mirales (Manolo Solo), is distracted by marital problems and professionally broken একটি a weakness not above exploitation for the good of his boss company, even as he draws Mirales to strip clubs in supposed solidarity.
Blanco’s own marriage to world-weary fashion boutique owner Adela (Sonia Almarcha) has not been sacred for years: the attractive new intern Liliana (Almudena Amor) is clearly the latest in a long line of disposable grooming possibilities, as evidenced by her icky subtext. “Relationships here go beyond what is stated in the agreement.” Yet their overnight Dalians are not as string-free as Blanco initially assumed.
Transfer from brittle workplace comedy to Broad Bedroom comedy to the register, although there is a slight lack of elastic snaps. Within two hours, rather complexly filled with subplots ranging from damaging to horrific consequences, “The Good Boss” struggles to speed up the need: there is laughter, but as far as it can go. The irony is also the lack of sharpness and precision of the poison-arrow, out of the ordinary point-well-taken-corporations only protect their defenders.
Yet, with his erroneous outlook and glimpse of the visual jockey, “The Good Boss” is significantly more lively, great, lovely than the last collaboration between Leon de Aranoa and Bardem, the lovely Escobar biopic “Loving Pablo”. Yet it’s completely a world away from their first, 19-year-old gentle, sympathetic blue-collar drama “Someday in the Sun”. (In 2002, Pedro Almodডvar’s “Talk to Her” received a wonderful Spanish Oscar nomination, and “The Good Boss” is currently one of the three shortlisted Spanish films – Almodডেvar’s “Parallel Mothers”, as it happens – in honor of him.)
“Monday” was a study of the unemployment and backwardness of working class men closing a shipyard: almost two decades later, the sympathy for the new film is much the same, although its less privileged characters get a brief change in favor of a slippery, obscure protagonist-villain. . Sometimes the devil has only the best line, not to mention the worst wigs: Bardem knows this better than most.