I Like
to Work (Mobbing) (*1/2)
review by Jon
Waterman
Single mother Anna works for a company that recently underwent
a merger. The new bosses, like many in Italy, have a history
of being harsh with their employees in order to test company
loyalty. Her position with the company keeps changing day by
day to see how much she can tolerate. In increasingly subtle
and sometimes far from subtle ways, they force Anna to choose
between work and her pre-teen daughter Morgana. What can Anna
do to save her job as well as her daughter’s love?
Here in the United States, this scenario doesn’t sound
that familiar, but in Italy there are numerous similar cases
from which the story was formed. Director Francesca Comencini
also wrote the script for this frustrating drama about difficult
decisions. It’s frustrating in part because with the
hardships Anna goes through there is attempt at confrontation
or argument, and we the audience would like to think we’d
handle the situation better, yet still understand why she didn’t.
It’s also frustrating, because the film is lacking in
certain key areas.
Most importantly, there is a lack of intensity. The build
up exists, but doesn’t snowball the way it should. The
internal struggle becomes clear from the start and never escalates.
The consequences don’t seem all too dire. As a result,
the level of sympathy for Anna (played by Nicoletta Braschi – also
known for being Roberto Benigni’s wife) is reduced.
Perhaps if she were more vocal, in either of her environments
(work
and
home), the injustice would be more recognizable and relatable.
The mother/daughter relationship didn’t do it for me,
either. They love each other. That comes across, but the dynamic
between them was never established enough for us to recognize
its impending destruction. The same goes with Anna’s
relationship with her coworkers. In fact, the only crystal
clear relationship is that of boss and subordinate employee.
Despite the shortcomings in the script, the camerawork is
solid. The sense of isolation and desperation comes across
in every shot. The myriad shots of long, empty corridors emphasize
the loneliness. The close-ups punch in on the emotional drive
and defeat. Even those shots with other people, Anna steals
the spotlight, as the rest of the actors almost seem like props.
What I didn’t like was the standard blue tint to indicate
the melancholy atmosphere and the shakiness of the camera seems
unmotivated at times, especially near the beginning.
The ending was as quick as a snap of the fingers and just
as resonating. The film may have more of an impact in Italy,
where the problems Anna goes through are more commonplace,
but I just can’t relate. Even if I could, it’s
not necessarily a new story or even an overly interesting one.
respond to jon@filmbrats.com
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