Javier Bardem essays the title position in The Good Boss, and that’s how his character would describe himself. He inherited from his father a manufacturing facility that makes scales—all sizes and sorts—and presides over 100 or so staff that he regards as household. But the screenplay, written by director Fernando León de Aranoa, methodically reveals the reality that lurks behind the platitudes and business awards Bardem is so pleased with.
The movie opens with a gang of hoodlums beating up a person in a park. One of the miscreants is the son of a longtime worker, so Bardem takes day out of his Sunday to bail the younger man out of jail and allay his employee’s concern by giving the boy a job serving to his spouse, who runs a classy lingerie store.
Bardem spends an uncommon quantity of effort and time taking good care of his individuals, solely a few of whom are grateful. A employee who has simply been laid off seems to be a loudmouth and troublemaker. Bardem is dismissive of his threats, as a result of till now he hasn’t encountered any issues he can’t deal with. But issues are about to vary.
A social satire like this will depend on credibility and de Aranoa by no means units a foot improper, whilst his narrative turns darkly humorous. Bardem’s world turns into an absurdist comedy, generally bordering on farce. But how else may one describe doing enterprise within the 21st century? The uniformed safety guard who on the entrance to Bardem’s manufacturing facility is sympathetic to the laid-off worker and doesn’t perceive his boss’s impatience with the person’s day by day protests. Logic has no place in a world gone mad.
The Good Boss is a satisfying import that was nominated for a report twenty Goya Awards in Spain final yr. It isn’t tough to see why. The ensemble is powerful however Bardem instructions the display screen within the main position. It’s an ideal match for him.
Why don’t American movies sort out this sort of story? It’s observational comedy, which appears to elude our native-born filmmakers. Here is how Fernando Leon de Aranoa feels, in accordance with the press notes: “I believe complex and artistically ambitious cinema is possible, one that leaves a record of who we are, of the moment in time in which we live; and that at the same time amuses, intrigues, and moves us, and which does so using humor, at times even being light-hearted, with an edge; but without renouncing engagement, truth or poetry.”