Bartleby
Herman Melville's short story Bartleby the Scrivener gets a slightly surreal update in this offbeat comedy drama. The manager (David Paymer) of the city records department in a mid-sized California community decides that his staff of three -- flirty chatterbox Vivian (Glenne Headly), sloppy Vietnam vet Ernie (Maury Chaykin), and slick-suited, Don Juan wannabe Rocky (Joe Piscopo) -- could use some help, so he places an ad looking for a new employee. The boss ends up hiring the one and only applicant who wants the position, a quiet, pale young man named Bartleby (Crispin Glover). At first, Bartleby is a model of efficiency, but before long he loses enthusiasm for his job, much to the annoyance of his co-workers, and soon he's spending his days staring at an air conditioning vent. The Boss asks Bartleby to get back to work, but Bartleby's repeated reply to such requests is, "I prefer not to," and the Boss sees little recourse but to fire him. However, Bartleby refuses to leave his desk, and it soon becomes obvious that Bartleby has not only stopped doing his work -- he's stopped going home and has moved into the office. Bartleby was the first feature film for producer/director Jonathan Parker; he also wrote the screenplay, in collaboration with Catherine Di Napoli. more..
Director: Jonathan Parker
Starring: Crispin Glover, David Paymer, Glenne Headly, Maury Chaykin, Joe Piscopo
Mr. Parker has brilliantly updated his source and grasped its essence, composing a sorrowful and hilarious tone poem about alienated labor, or an absurdist workplace sitcom, as if a team of French surrealists had been put in charge of "The Drew Carey Show."
This is a shrewd and effective film from a director who understands how to create and sustain a mood.
The film has been directed by Jonathan Parker; he adapted the Melville story with Catherine DiNapoli. It's his first work, and a promising one. I admire it and yet cannot recommend it, because it overstays its natural running time.
Though this film can be clumsy, its ambitions are equally -- and admirably -- uncommercial.
It's a testament to both the timelessness and the prescience of Herman Melville's 1853 story "Bartleby, the Scrivener" that it can be so easily updated with so few changes.
Jonathan Parker
Deauville Film Festival (2001)
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