El buen patrón

The writing of the dialogue is terrific. Every carefully-scripted word and situation is loaded with bad blood, mercilessly shelling out the miseries of labor relations in Spain. Bardem's performance as a paternalistic and cronyistic businessman is superlative. A necessary condition to fully enjoy the film, since everything revolves around him. A tad slow development of the story notwithstanding (stylistically justified around a metaphor of balancing the scales?), we are in for a ride.

It would appear comforting that there are still companies out there that genuinely care about the welfare of their employees, treating them like members of a big, loving family. And that's the image that Blanco Scales tries to convey, one that's placed the organization in the running for a regional business award, one of many such honors it has received over the years. Making this possible is the company's owner, a kindly paternal sort who seems concerned about the well-being of his staff - that is, insofar as it affects the company's welfare. This approach, however, often leads to undue meddling in the lives of workers, so much so that the boss will go to almost any lengths to achieve his goals by way of his employees and their families, especially when it comes to reflecting the proper image he's trying to project, a practice ultimately fraught with troubling complications. Writer-director Fernando León de Aranoa's latest serves up a biting satire about the business world and the extremes to which businesses will go to present squeaky clean, politically correct portraits of themselves to an easily gullible public, tactfully burying the compromises and questionable tactics they often must do in realizing that goal. This offering is a perfect vehicle for Javier Bardem as the oily protagonist, playing the part with just the right amount of insincerity to be convincing without looking cartoonish, in a role backed by a superb ensemble of supporting characters. It's regrettable that the picture gets off to a painfully slow start during much of the first hour, but the film more than makes up for this shortcoming in the second half, turning wickedly funny and occasionally disquieting in the second half. Be patient with this one, giving it ample time to develop; you won't be disappointed with the payoff.

This movie manages to be both terrifically funny and very much down to earth at the same time. The story contains enough twists and turns expanding throughout an eventful week to keep you invested enough. But there comes Bardem and makes everything glorious just with his face and his amazingly expressive eyes. A great Spanish movie, I would dare to say it may be one of the finest of the year. Not to be missed!

El buen patrón (The Good Boss) is a sarcastic and brilliant tragicomedy about power, work, human relationships, submission, infidelity, dignity, injustice, and balance. Masterly written & directed by Fernando León de Aranoa, with a stunning and brilliant performance by Javier Bardem, a stellar supporting cast and great music by Zeltia Montes (with a melody that you will hum afterwards), El buen patrón will make you laugh, cry, enjoy, and reflect on the balances and imbalances of the working life, marriage, and power. 10/10.

By Maryam Tavatav (Critic)

Directed by Fernando Leon de Aranoa, "The Good Boss", as the representative of Spanish cinema at the 2021 Academy Awards, explores societies based on political-economic and capitalist systems and narrates becoming the number one in the workplace at any cost.

Blanco is the owner of a factory of industrial scales. This mere choice of scales connoting justice begins the chain of symbolism in this film. Throughout his speeches and interaction with others, Blanco manifests himself at the beginning of the story, as a compassionate, sympathetic boss who is willing to do anything for his factory workers. He keeps retelling this key phrase: "Every employee's problem is mine" and this is a fallacious statement that has been repeated over and over again throughout the organization's history causing all workers to believe in its legitimacy. However, another truth emerges as the film proceeds.

The film's main plot is based on this question: beyond this technicolor of slogans the capitalists chant in support of the workers, is their true face as sympathetic and benevolent as they look before the public and media? It remains to be seen to what extent these pretender capitalists adhere to moral statements when a tiny margin of their capital is jeopardized. This view does not contradict the concept of capital since the circulation of capital in society will certainly bring about economic prosperity that might be beneficial to the people. Meanwhile, the main point is how this benefit is to be distributed. Do people share in the benefits as much as they have contributed to the generation of wealth?

What elements must be in place in this cycle to achieve a higher level of assets? At this point, the main conflict is created; where various economic and political schools have made an attempt to come up with an answer. The script of a good boss also brings to light the extent of adherence to principles that are challenged in the face of a financial crisis and where the interest of employees comes into play. Simply put, when a problem occurs at the heart of the factory, despite Blanco's pretentious conduct favoring the workers, the manpower becomes the means to add just one more award to the wall of the owner's house at any cost. This comedic nature of the film, in a dark setting, mocks Blanco's superficial view of the fate of his workers. The film's final scene illustrates framed awards, with writings such as "Justice", here and there on the factory's walls, while its atmosphere is still filled with corruption and inequality.

The Good Boss can be introduced as the most allegoric and figurative film of the year considering its abundant use of meaningful symbols. The irony depicted in the film regarding the sense of justice and benevolence demonstrates that the director's preoccupation is way beyond a mere worker-employer incompatibility in the workplace. Behind Blanco's apparent good-naturedness in the guise of a spiritual father lives another human being: a man enjoying inheritance who is willing to do anything to preserve his capital so that he can add a framed award to those of others on the walls of his factory, lest a single penny be deducted from its capital; He somewhat represents a capitalist society that is willing to crush everything under the boots of power for the sake of achieving its material goals. Herein, the power relations are predefined and the authority is exclusively in the hands of a few and the others may enjoy a marginal benefit out of their vast fortune through deceitfulness. In fact, the concept of meritocracy and effort is the overlooked component of such thinking.

The element of surprise, which seems to be missing in almost all films these days, is well implemented in this film. The first impression that Blanco leaves on the audience is one sympathetic boss who follows the recent concepts in management science and perceives his workforce as the capital of his factory, while in the second half of the film, his true character is revealed once Blanco is put in a situation that his interests are at stake.

The brilliant performance of "Javier Bardem" in the leading role of this film must not be neglected. He shows such a dramatic personality change in his role that the viewer fully understands the nuances of his characteristics; his acting thoroughly serves the film's purposes and helps advance the narrative. The presence of influential supporting roles and sub-characters has also contributed to the completion of this puzzle and created an effective flow of transformation. The Good Boss possesses a professional cast of actors who have done well in their roles. The use of symbols and attention to detail have played a major role in expressing the main concept and theme of the film, especially when the seeds planted earlier are harvested and these symbols are used in the ending.

This film is a fine example of how deep political-economic concepts, whose presence is a grave concern in human life, can be sharply criticized with the correct and principled use of humor and comedy. Fierce criticism of political and economic structures does not necessarily require the production of serious films; rather one can voice the most serious criticisms by making a comedy film and force the viewer to contemplate.