Films about working in the office any office have been done before: Nine to Five (1980) comes to mind readily and there are many others too numerous to mention.
But, whereas this film has its comedic moments, it's not the same kind of comedy as the above, and not just because it was made in Japan, although that helped.
This really is a story about the difficulties in communication and understanding that exist between cultures and, arguably, those differences between Japanese culture and Western are, or can be, daunting.
Happily, the director presents the narrative from the Amelie's (Sylvie Testud) point of view almost exclusively. In doing so, he exposes and satirizes some of the ridiculous situations that do exist in the Japanese workplace, which, in another culture, would also be equally stupid, if not criminal.
Everybody's come up against tunnel vision in a supervisor. And the same goes for professional jealousy between co-workers. The difference with this film is, of course, the fact that Japanese modes of interaction, manager-worker relationships and, most importantly, individual initiative are regarded very differently when compared to similar conditions in an office in New York, London, Sydney or any other major Western city. To take just one example, a Western vice-president these days would be charged with assault if he'd acted in the same way as Omochi (Bison Katayama) did towards Amelie when the toilet paper tray in the men's toilet was empty. The fact that I could still laugh at that scene testifies to the ability of the director to highlight the absurdity of it all.
As you might expect, there's a lot of dialog, almost as much voice-over by Amelie as she thinks and fantasizes and very little in the way of action well, action-fan type action, know what I mean? So, this movie will not appeal to everybody. I really liked it though as I have a soft spot for Japanese culture anyway, having been steeped in martial arts for nearly thirty years.
For me, this was a subtly satisfying slice of life of a Westerner and female to boot -- in Japan. And quite hilarious at times.
But, whereas this film has its comedic moments, it's not the same kind of comedy as the above, and not just because it was made in Japan, although that helped.
This really is a story about the difficulties in communication and understanding that exist between cultures and, arguably, those differences between Japanese culture and Western are, or can be, daunting.
Happily, the director presents the narrative from the Amelie's (Sylvie Testud) point of view almost exclusively. In doing so, he exposes and satirizes some of the ridiculous situations that do exist in the Japanese workplace, which, in another culture, would also be equally stupid, if not criminal.
Everybody's come up against tunnel vision in a supervisor. And the same goes for professional jealousy between co-workers. The difference with this film is, of course, the fact that Japanese modes of interaction, manager-worker relationships and, most importantly, individual initiative are regarded very differently when compared to similar conditions in an office in New York, London, Sydney or any other major Western city. To take just one example, a Western vice-president these days would be charged with assault if he'd acted in the same way as Omochi (Bison Katayama) did towards Amelie when the toilet paper tray in the men's toilet was empty. The fact that I could still laugh at that scene testifies to the ability of the director to highlight the absurdity of it all.
As you might expect, there's a lot of dialog, almost as much voice-over by Amelie as she thinks and fantasizes and very little in the way of action well, action-fan type action, know what I mean? So, this movie will not appeal to everybody. I really liked it though as I have a soft spot for Japanese culture anyway, having been steeped in martial arts for nearly thirty years.
For me, this was a subtly satisfying slice of life of a Westerner and female to boot -- in Japan. And quite hilarious at times.