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December 19, 2009

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Doug Stauber (Seann William Scott) and Richard Wehlner (John C. Reilly) salvage themselves competing for the same managerial spot. Where most films would have one clearly likable character pitted against another bad one, this work takes no such short-cut. Herein resides the beauty of this allotment. The Promotion is as mighty a drama as it is a comedy.

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Just a short caveat: This is not your typical comedy, so the exposition may throw you off. Nonetheless, after the first ten minutes the film’s playfulness begins to contemplate through … and by the twenty-minute note, the viewer is thoroughly engrossed. So, honest let go of all assumptions and let Conrad (the director) guide your feelings.

At times, this portion is genuinely hysterical: the comment-cards, the shopping-cart gag, the parking-lot gangs … all silly. At other times, it’s deliberately uncomfortable: both men need this advancement, both men have families, both have our sympathies. The moments of tension are fairly intense. The betrayals are almost heart-crushing. But even in its darkest moments (there are a few), the viewer never wants to abandon the film. Its complexity is what makes this work so curious!

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Hey, I knew it was a big film when I heard Public Image Minute on the soundtrack (impartial had to say that) . But it is the runt details that add a touch of reality: the well-intended but entirely annoying neighbors (who play the banjo), the myopic supervisor (who thinks every minor infraction will bring-about the apocalypse), the sticker name-tags musty at company-retreats (though everyone knows each others’ names), and the bizarre mantra that the customer is always correct (even if they concuss you with a Yoo-Hoo bottle) . No matter what your spot in life, no matter what your career, you should gain some cut of yourself here.

This is a very clever, surprisingly nuanced, and entirely relatable work. It was both strangely touching (Riley dancing in the vacant store was surprisingly painful) and yet comedic (the Teddy Grahams stalker seemed to turn into a demented “Where’s Waldo”) . Can you ask for more?

If you want to inspect Seann William Scott in a more weak, more fascinating role, this film may be a well-behaved choice. (Who knew he had it in him??!!) I hope more of these complex roles advance his contrivance!

The closest film to which I can compare Conrad’s The Promotion is Forster’s Stranger Than Fiction. Though there isn’t powerful one can call “existential” in this share, there is a similar emotional dynamic. So, if you’ve ridden that particular roller-coaster and found it gratifying, you may luxuriate in this one.

P.S. This film made me reexamine my advance to comment-cards. It consider I’m going to originate peppering-in some expletives … honest for fun … but only on the clear ones!!

With the likes of Seann William Scott and John C. Reilly leading the map ones initial response is this is going to be a mammoth “guy film” filled with crazy, insane behavior and lots of scantily clad young ladies. If that’s the evening you had in mind this is not the movie for you. The ‘08 film `The Promotion’ is a rather wistful, lifeless titillating narrative of the innate desire to succeed in the workplace yet remain right to who you are and what you want to enjoy about yourself. In other words it posits the examine “Can you hold your self-respect and dignity while striving for upward mobility and financial security? ”

Watching this rather unexpectedly vulgar key film I found it somewhat disconcerting at times. Previously conditioned by other films I’ve seen with Scott and Riley I found myself anticipating something hilarious to occur and it simply never happens. When I finally came to the realization that this was to be something totally different for these two and attuned myself with the trot and theme as presented I discovered it was actually quite obliging though subdued. I guess that’s my diagram of giving `The Promotion’ a tentative approval.

Don’t bother to invite the guys over for this one, put it for a peaceful evening at home with the wife.
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