GetPapa Far from Perfect, Far from Terrible

Micransix Crappy film

Nicole I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

Staci Frederick Blistering performances.

mcshortfilm I loved this film and I cannot believe how so few critics liked it. What were they thinking? Apparently one critic thought since it was based on a short story that the film should be shorter. Of course, once one critic says its too long, every other critic has to agree. I guess David Mamet is an exception to the rule. Bartleby is not too long. It deserves it's running time so that we can absorb the story more closely. When we hear Bartleby repeat the same words: "I'd prefer not to" we are not given any explanation for the comment but yet it becomes extremely poignant. Eventually everyone in the office begins to use the word "prefer" and we see how Bartleby has affected the workplace like a disease. The film is very bizarre particularly because of the way the boss reacts to Bartleby. Instead of just firing the guy for not doing his job, he tries to reason with him. Eventually Barlteby gets in an even more bizarre predicament that has even more to do with just "prefering not to" work. The boss is obsessed with Bartleby and the film turns very Kafkaesque. We see a capitalist scenario where people topple on another for greed, power and respect. The film is based on the short story "Bartleby the Scrivener" by Herman Melville. It was appropriate to mention the source because the story seems very relevant not only to our modern culture but also to what Melville went after writing Moby Dick. The film also has a wonderful score with a Theramin instrument and a brilliant cinematography.

Matthew Janovic Herman Melville was a pessimist, which should be unsurprising to anyone who has read him. Taken from his short, "Bartelby the Scrivener", this is the second of two-attempts to translate this story to film. The first was a good British-version (1972) that is much-closer to the original story, but suffers from being placed outside of its American-context. "Bartelby" is about America, and is Pre-Marxist in its criticisms of American-capitalism. What is remarkable is that it was written in the 1850s (unlikely to have been influenced by Marx in any way), when we were gradually becoming a business-run nation, and moving-away from being a purely-agricultural one. This process would commence more-fully after the Civil War, but for someone like Melville, living in New York City was the writing-on-the-wall.But what makes "Bartelby" so amazing and chilling is that it resonates so strongly today. The problems we face now, due to the distortions inherent in our economic system, are still with us.If Melville said anything in his short-story, it was this: "What will become of the Bartelbys of the world?" Not everyone fits-into this job-system, and this should be no-surprise regarding an economy of "winner-takes-all", money-Godism. Under our profit-motive economy, people are simply left-behind, and Melville challenges our indifference to the needy.This was a very small-production, so I can understand why it is almost unknown. These are often the best films.The character Bartelby is more than just a non-conformist--he represents everyone who is neglected by our culture and economy. He reminds-us of the inhumanity in our daily-lives. Melville enjoins-us to help the next Bartelby we see, and acknowledge our responsibility for the way things are. The office-boss character feels he isn't responsible for Bartelby and his "I would prefer not to" difficulties, but Melville is really saying that he IS. There is an implied collective-guilt in the story that would not be addressed adequately until the Holocaust, which helps it retain a sense of the contemporary. Melville even prefigures Kafka and the school of absurdism in his story, it is genius. This film is an expert updating of this story, and it works well! It's both funny and pitch-black in its despair regarding modern life. Crispin Glover is inspired, with the qualities of a silent-film actor (Lon Chaney, or Conrad Veidt from Caligari) in his expressiveness, and there are some great slapstick-gags. This is film-making at its best, it's what you need. You will feel vindicated.

gypsybluejay If you are looking for humor...avoid! If you are looking for quirky depression....by all means, enjoy.I am always a fan of finding little known gems in the movie store, but this movie, unfortunately is not one of them. Despite having all of the makings of a delicious find (I believe the description on the jacket even said "side-splitting comedy!")I spent the next hour or so in a trance of 'I thought this was funny..." "Maybe it will get funnier once it is fully set up,' 'maybe it will get funny now,' 'maybe now!' It never got funny. In fact, the only character you can even hope to identify with is the boss, but very thinly. Oh sure, it had some hilarious moments, but they were very short lived and not enough to call this a comedy or sustain you through the rest of the slow and slipping plot towards utter collapse.I guess that is my main problem with it. The movie is quirky and (dare I say it) 'indy-ish' but NOT a comedy, despite the insistence of the tag-lines. For the most part it was vague and depressing, but it does manage to hold your attention, if only by sheer shock.

Robert J. Maxwell Ordinarily when the industry tries to turn a short story like Melville's "Bartleby the Scrivener" (which I haven't read since high school) into a "major motion picture," you can forget about it. The kiss of death. You want to see an example, watch Hollywood's version of "The Snows of Kilimanjaro" sometime, especially the scene in which Gregory Peck receives a message -- that famous floating pregnant italicized first paragraph of Hemingway's -- and reads it aloud between guffaws in a smokey saloon midway through the film.I wasn't expecting much from this movie either. It has less action than Hemingway so I was prepared to switch channels on impulse. But I was surprised because it turned out to be very well done. Melville is often cited as a forbear of Kafka but I don't know how well deserved that description is. The fact is that after Melville and before Kafka there was an enormous interest in bureaucratization, the "rationality" of labor as Max Weber referred to it. It was the period in which small craftsmen were being replaced by the kind of gigantic corporations that "alienated" the worker. Henry Ford adopted Jackson's "assembly line" methods and -- well, you get the picture. Bureaucracy, as a social problem and as a literary subject, was in the air. Anyway there's a little touch of Ionesco in here too, in addition to Kafka.Wardrobe is great. Everyone's dress reflects his or her personality but not in any obvious way. Art direction is equally well done. The acting could hardly be improved upon and the script is surprisingly well joined. The latter two points are important because this is hardly more than a staged play and is very dependent on those aspects of production. And, oh, I have to mention the score too. Most of the music is a tinkling solo piano straight out of a silent movie. The rest is most queerly orchestrated: percussion, piano, bowed bass, theramin, trombone and vibes. (It's as if someone had thrown the name of every possible instrument into a hat including the glockenspiel and drawn out half a dozen at random.)There isn't space enough to get into the rewards this film offers but let me mention two anyway. The performances are fine, but Glenn Headly is outstanding with her hooded eyelids and her gaze which seems to drop unzippingly down a man's body when she speaks to him. Her voice is sultry, mellifluous, insinuating. And her posture! Well, it's easy to get laughs out of a funny walk. Monty Python built a sketch around the idea. But Headly's BELONGS to her character. Her pelvis and belly are thrust forward, her shoulders drawn back, a Venus of Willendorf minus two hundred and fifty pounds.The script -- except for an overblown plea for something called "humanity" at the end -- is not only engrossing but at times extremely funny if it's listened to. (The director doesn't shove the comedy down your throat.) After Bartleby refuses to work anymore by simply saying, "I prefer not to," half a dozen times, the other three office workers pick up on the word and begin using it unthinkingly. "Would you prefer coffee or tea?" "Your wife is on line three, or line two if you'd prefer." It begins to drive the boss mad. Another line: "Business Park! What kind of address is that? Those two words should never be used together. There's a word for people who do that. Oxymorons." And a delapidated old drunken bum stops the boss on a street and asks him, "Pardon me. Do you happen to have an extra dollar and thirteen cents? I was just xeroxing my dissertation --"Melville's symbolism could get a bit thin -- the lightening rod salesman -- but Bartleby is more like the white whale. And I hate to say this because I'm sure Meville wouldn't have said it but there's a certain concordance between "Moby Dick" and "Bartleby. Both contrast the instrumental aspect of capitalism (the records room boss and the crew of the Pequod) with a stubborn and apparently spiritless self dermination (Bartleby and Ahab). As for the whale, I frankly don't know what he stands for unless it's the unknowable itself.This film is really pretty good.