John Ham in ‘Corner Office’: Film Review | Tribute 2022

Kafka’s stories, even those written by Kafka, work better on the page than on the screen. This is demonstrated once again by the ambitious film adaptation of Joachim Beck’s renowned existentialist novel. ახTomarIt received its world premiere at the Tribeca Film Festival.

Reputed corner office (Presumably to avoid confusing Tommy Waizo with immortally bad cult classics), the film features a fascinating premise that is unfortunately refined during its full-time run. But it allows John Ham to present his gift to Dead Comedy.

In this film, Ham returns to the office environment in which he played his lead role. ᲒAdareulBut this is a really different office. Housed in a brutalist architectural structure that would not be out of place in Soviet Russia, it is the headquarters of the lesser-known corporation The Authority, Inc. (only if you can’t understand the symbolism). The company’s last employee is Orson (Ham), whose name may be a tribute to Orson Welles, who created the film version of Kafka. ᲡCourt.

Narrating the entire process, Orson is instantly disgusted with his colleagues at the office, resenting things like their lazy work habits, sloppy clothes, and even the lack of a boy’s sun drawing on one of their hats. . Determined to be a “calculated person”, he prides himself on his work ethic, maintaining a strict schedule of 55 minutes of hard work followed by a five-minute break. If he has to go to the bathroom, he grabs her and thinks more discomfort is “character building”.

Orson’s insecurity and domineering attitude alienate his colleagues, especially Rakesh (Danny Pood), with whom he shares a desk and whose ever-growing pile of papers threatens to encroach on Orson’s space. Orson, meanwhile, is concerned when his boss (Christopher Heyerdahl) criticizes him for disobeying the “Think Floor” sign and not covering his snow-covered shoes with the provided plastic boots.

Only until Orson discovers an empty, elegantly decorated, wood-paneled office is he instantly satisfied. When he manages to get back there, he finds that it gives him inner peace, allowing him to do his best work, resulting in his boss never seeing the “EVP” above, who really controls everything. His new status only increases the resentment of the employees. What’s more worrying is that none of them can see the clearly magical office that serves Orson’s haven, so they send him into the office and cut him down.

The story’s tense allegorical thoughts could have been more fun if Orson had been a more recognizable character. Unfortunately, he is portrayed as pretentiously offended, which reduces our identification with him as someone who desperately wants to identify with himself. It also diminishes our emotional investment in his possible romantic relationship with the company’s charming and friendly receiver (Sarah Gadon), whom he takes to his secret hideaway in one of the film’s most fantastically fantastical sections.

In fact, very little happens in the story, which would have been better for a short film. Still, it has a certain charm, thanks to the strong sense of oppressive atmosphere exhibited by director Beck, who is working on an adaptation of Ted Cooper’s screenplay. Particularly impressive are the repetitive scenes of the company’s snow-covered parking lot, where a lone Orson enters the office like a worker ant. The dramatic story development in the final action leads to a chaotic chase between the masses and some defenders, reminiscent of a combination of Buster Keaton and Samuel Beckett.

Hami lives his role to perfection, never winking at the camera to let us know he’s joking and not afraid to make his character as impossible as possible. It also plays against his protagonist’s appearance and proves once again that, with an unattractive wig, old-fashioned glasses and really creepy mustaches, even the most sympathetic actor can be unattractive. But he abolished it with monotonous material, his natural charisma suppressed by a single-note character.

corner office Very well able to convey the devastating effect of working in the office, which practically confirms the trend created by the pandemic to work from home. Before the movie ends, you’ll be desperate to find a peaceful haven.