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In Good Company
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Paul Weitz’s “In Good Company” is one of a handful of Hollywood films currently getting a big push for Oscar season. And why not? It’s a good movie, with a sure script, some fine acting by the three leads, and even a timely premise to boot. Corporate downsizing is all over the news, fighting for position with corporate greed, multinational mergers, and people losing their jobs. The economy is shaky, and anyone who wears a suit and tie and carries a briefcase to work is a potential Ken Lay. But according to “In Good Company”, for every Ken Lay, there’s a man like Dan Foreman.
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A highlight of this year’s In Good Company conference will be “Matchmaker Madness,” a unique program that brings women business owners face-to-face with corporate buyers to facilitate buyer-supplier relationships. The Matchmaker event will be presented by WBEC-West, the regional partner of the Women’s Business Enterprise National Council (WBENC). The goal of the activity is to establish connections between qualified women business owners and buyers from corporations and government agencies seeking diverse suppliers through a series of one-on-one meetings. Click here for more information.
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The Weitzes' latest follows a similar pattern, and though this time Paul flies solo on the creative front (brother Chris co-produces), In Good Company possesses the same depth of character and effortless charm as the brothers' other successful productions. This kind of effortlessness can easily be mistaken for dishonest or condescending filmmaking, but it's no easy task to create a film so consistently entertaining. Weitz is most deft in crafting the relationship between Dan and Carter, refusing to turn either one into a villain, and refusing to let either survive a moral transgression without due embarrassment. The father-son implications of this relationship are obvious, but Weitz allows them to stay implied; by film's end, Dan doesn't have to say that Carter has become the son he never had, because it's already understood.
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"It was different from anything out there," said Rocco on why In Good Company struck a chord. "The subject matter hits home. People in the corporate world know what it's like to be taken over and have new people to train." She ... credited the cast and writer-director Paul Weitz, who outperformed his own About a Boy by the same studio.
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With In Good Company, Paul Weitz steps away from the comfort zone of working with his brother Chris with this first writing-directing solo effort. But he has not abandoned the theme of growing up, which marked American Pie, the raucous comedy about four boys desperately trying to lose their virginity, and About a Boy, in which a confirmed and carefree bachelor learns to embrace commitment and responsibility. In this happy marriage of office satire and domestic drama, a middle-aged executive provides a primer in work and life to a young upstart who has just usurped his job. It sounds like a sitcom premise, but this is a smart, funny, and occasionally moving take on modern business and family life.
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One of the preeminent pleasures of In Good Company, the amiable new comedy written and directed by Paul Weitz, is observing a group of disingenuous businesspeople let down their defenses to become needy and vulnerable. Convincingly set within the callous world of competitive advertising, the film features an ensemble whose foremost mission is to act cool and collected—to sell, sell, sell—even as they lead lives of quiet desperation.
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In Good Company