"Roman" is Russian for "romance," but also for "novel," and this film is in many ways like a novel in its range and subtlety, and the complexity of its characters. It's a quite excellent, and really genuine piece of film.
It's in two parts and it's long, but never drags and so much of the subtle art that Eldar Ryazanov brings to his direction is in the fact that everything is perfectly timed. The length gives the narrative time to breathe, the characters time to play off each other in genuine good scenes, and subplots time to play out.
As with a good novel, there is more than one tone. "Tragicomedy" is a word that gets applied, and I think it's the right one. It's hilariously funny quite often, but also is sometimes so sad that it's hard to watch -- without the shift in tone ever being jarring.
It's great how well things can turn out when everything else is left simple so that the characters and what they decide to do can be humanly complicated. Everything is accomplished with an understanding script, and well-chosen cast of true actors, and a director who applies real talent to the material.
The office setting never becomes stifling, and the expansive length and detailed script let us get just enough of a sense of this office at a real place with a host of believable people working in it, without detracting from the main elements of the story.
We know what will happen in the end -- in the first few minutes we know to follow how Novoseltsev will break through Kalugina's facade and his own shyness to win her over. But we're still kept on the edge of our seats to find out just how. "Office Romance" is extremely sweet in a way that is never off-putting -- probably at least in part because the characters can be so brutal with each other. It's hard to imagine the viewer who wouldn't be won over.
It's in two parts and it's long, but never drags and so much of the subtle art that Eldar Ryazanov brings to his direction is in the fact that everything is perfectly timed. The length gives the narrative time to breathe, the characters time to play off each other in genuine good scenes, and subplots time to play out.
As with a good novel, there is more than one tone. "Tragicomedy" is a word that gets applied, and I think it's the right one. It's hilariously funny quite often, but also is sometimes so sad that it's hard to watch -- without the shift in tone ever being jarring.
It's great how well things can turn out when everything else is left simple so that the characters and what they decide to do can be humanly complicated. Everything is accomplished with an understanding script, and well-chosen cast of true actors, and a director who applies real talent to the material.
The office setting never becomes stifling, and the expansive length and detailed script let us get just enough of a sense of this office at a real place with a host of believable people working in it, without detracting from the main elements of the story.
We know what will happen in the end -- in the first few minutes we know to follow how Novoseltsev will break through Kalugina's facade and his own shyness to win her over. But we're still kept on the edge of our seats to find out just how. "Office Romance" is extremely sweet in a way that is never off-putting -- probably at least in part because the characters can be so brutal with each other. It's hard to imagine the viewer who wouldn't be won over.