Films Available in DVD

Advertising Rules!

(aka Viktor Vogel: Commercial Man)

2001,108 mins., R

Director: Lars Kraume

Screenplay: Lars Kraume and Thomas Schlesinger

With sporadically amusing comic hijinks inside an advertising firm, a young man flummoxes his way into the leadership of a 120 million Deutsche Mark advertising campaign for Opel Auto. Trouble is … he had already suggested the same visual elements of his Opel campaign to a new girlfriend, who has just secured for herself a coveted exhibition slot for his idea. How will Viktor Vogel—aptly nicknamed Commercial Man in the original German release–cope?

The ancestor of this satire on advertising agencies is the American film Putney Swope, perhaps (alas) considered only a funny relic of the 1960s: Putney is a token black man in an ad agency who is elected chairman in a fluke vote and who transforms the company into Truth and Soul, Inc., a militantly Black business. Viktor (played by Alexander Scheer), transforms the ad agency in the heart of the German metropolis by being crazy, outspoken, and young: no accident that the agency’s name is Brainstorm. He get his job in the agency just by crashing a meeting and eventually pitching a no-fail idea for a new multi-million mark deal for Opel Auto. His idea features a women shooting arrows into packages of supermarket food and other products while she is on “the hunt” for the right car. Get it? Life gets complicated because of a growing friendship with his reluctant mentor, Eddie Kaminsky (played by Gotz George), who had been a radical documentary filmmaker (his success was a cinema verite shoot of a Palestinian uprising) and who now just wants to retire with a golden parachute. Viktor having pitched his idea to Rosa (played by Chulpan Khamatova), the new girlfriend, now presents him with a dilemma.

Of course Eddie has to choose—friendship with Eddie, love with Rosa, or success at Brainstorm. Since this is a comedy he makes all the wrong choices at first but his essentially good character triumphs at the end. The satire of how an ad firm works is light but pleasant: where “the client is king,” the staff is sycophantic. As soon as Viktor’s ad campaign is successful, all the staff changes from cool Berlin black to zany slacker duds like Viktor. When Viktor’s stock plummets, black is in again and what used to be “in” (Viktor) is out again, according to the new creative director who dismisses Viktor unceremoniously.

Although one should probably never overestimate the public’s fascination with dysfunctional corporations in the cinema, Viktor like Putney certainly should tickle the fancy of any radical tourists, ad busters, or gentle anarchists.

Babylon 5: “By Any Means Necessary”

1994, TV Series

Director: Jim Johnston

Teleplay: Kathryn M. Drennan, based on series created by J. Michael Straczynski

While science fiction with dystopian themes might be a natural for a vision of labor in the future, surprisingly few films can resist the special effects and futuristic gadgetry characteristic of the genre instead of a focus on work. Enemy Mine and Screamers, for example, both open with intriguing premises about the dangers of mining on future and alternative worlds but use the locale primarily as backdrop for other matters. At least in Babylon 5 one episode of the TV science fiction series actually offers an out-and-out strike by cargo handlers.

Babylon 5 is a massive space station in which “humans and aliens” can “work out their differences.” The year is 2258, after centuries of space exploration and space warfare. The “conceptual consultant” for the series is Harlan Ellison, known for his dystopian science fiction.

By Any Means Necessary (Production Episode 114) is double-plotted: an accident in the cargo hold (caused by cheap microchips used by a subcontractor to bid low) has caused the death of a worker, the brother of the cargo crew’s foreman. The incident highlights their understaffing and low wages. In the meantime two of the resident aliens, G’Kar (played by Andreas Katsula) of the Narns and Londo (played by Peter Jurasik) of the Centauri, are continuing the ancestral feuds between their peoples (the latter has a sacred plant needed in the former’s religious ceremony).

A professional labor negotiator is brought in from earth to settle the workers’ hash, but they continue their boisterous and fairly violent strike. The only solution is a trick played by the military commander, Jeffrey Sinclair (played by Michael O’Hare) who settles the strike with the union negotiator Neeoma Connally (played by Katy Boyer) by following the “Rush Act” (named satirically after right-wing radio show personality Rush Limbaugh) that allows him to settle work disputes “by any means necessary.” Instead of invoking military force—the negotiator’s preference—he offers an amnesty to the workers, increased wages, and a promise to increase the size of the workforce. Crisis over. And the duel between G’Kar and Londo is also settled, albeit more surreptitiously.

Whether the puny globalized transition period that we are now in will learn these mature lessons of the future remains to be seen.

Late Night Shopping

2001, 87 mins., UK

Director: Saul Metzstein

Screenplay: Jack Lothian

Late night, yes, but not much shopping: instead four night shift workers hang out after their shift at an all-night café in Glasgow and analyze themselves and their dead-end jobs with cynicism, humor, and even touches of despair.

Failed relationships are what a supermarket shelf stacker, a telephone operator, a hospital porter, and an electronics assembly line worker have in common. This is a laid-back comedy, surprising us with twists and turns of plot and character-driven coincidence. The shelf stacker, Vince (played by James Lance) has a one-night stand with Madeline (played by Heike Makatsch), who is the estranged girlfriend of Sean (played by Luke de Woolfson), the hospital porter, who is seduced by a visitor to his hospital, and on and on, until everyone in the film is involved in the comic round of comic sexual encounters (an updated version of the classic Max Ophuls’ 1950 film La Ronde).

The film captures the repetitive and boring work of all four, and so if they seem a little preoccupied with sex—both talking about it and doing it—one does one really blame them. All of them imply they would like to move on from these jobs but virtually none of them express any strategy for doing so.

For those who track British comedies, it might suffice to say that this is Trainspotting without heroin, or The Full Monty without the Chippendales. But we might also say it is simply the real world of low-end Glasgow.

A Painted House

2003, 98 mins., TVM, PG

Director: Alfonso Arau

Screenplay: Patrick Sheane Duncan, based on John Grisham’s novel by the same title

The cotton fields of the Arkansas Delta in A Painted House, John Grisham’s autobiographical novel, are as far removed from the intrigues of the lawyers he usually writes about as can be imagined. Luke Chandler (played by Logan Lerman) is just ten years old, but seems older, as he observes his parents (played by Robert Sean Leonard and Arija Bareikis) and his grandparents (played by Scott Glenn and Melinda Dillon) try to survive in the Korean War era on 80 acres of temperamental cotton. The family has to hire migrant workers, both Mexicans and hill people (“hillbillies”), to help pick the crop. But they also have to worry about tornadoes, floods, and violent disagreements among their migrant workers.

Although it is 1953, it feels like a decade before, as Detroit auto plants tempt the rural workers to head north for steady factory work and a shot at their own homes, TV, and a telephone. Even Luke’s parents eventually leave, but not until Luke witnesses two violent deaths that elude the forces of law and order. Luke himself becomes consumed by the idea of having the family home painted, a local mark of (some) status. Bigger issues–such as the family’s carryover and never-ending debt–do receive attention, but almost to a lesser degree.

This TV movie, although it was directed by Alphonso Arau whose magic realist Death by Chocolate was a surprise hit in 1992, veers dangerously close to the greeting card sentimentality favored by the film’s producers, Hallmark Cards. Only when we learn the hard lessons of the beautiful but tricky cotton crop–captured in a number of stunning overhead and crane shots–do we feel that the economic forces of small family farms are confronted.


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