Based on Herman Melville's 1853 short story, Bartleby the Scrivener, strange Crispin Glover captures the essence of the strange man who prefers to remain removed as far as possible from human relationships and activities. Originally a copyist in the conveyance's office, this update, written by Jonathan Parker and Catherine DiNapoli, places Bartleby in an office of public records. The small - though larger-than-life - cast of characters who inhabit the office include his boss, (Paymer) who is constantly confounded by Bartleby, and the sexy secretary (Glenne Headly) who speaks in double entendre and sexual innuendo. The others are two clerks Rocky (Joe Piscopo) and Ernie (Maury Chaykin) each with profound peculiarities of his own, rounded out by the regional manager (Seymour Cassel) who comes occasionally to review the operation, much to his bewilderment.

Bartleby is the sole respondent to an advertisement for a file clerk and thus is hired. At first he files industriously, but soon begins to prefer to stay behind the screen he puts up in front of his desk. Before long his main activity is studying the view of the wall or the dusty air conditioner vent. The others grow increasingly uncomfortable with Bartleby's presence. This little film works brilliantly as the allegory Melville intended, to explore what gives meaning to life and the role that work plays. Revealed in the story is how flimsy the props are, that allow for the comfortable belief that life's expectations will be met. When Bartleby fails to play by the rules, the structure of this workplace begins to crumble. The boss is exasperated as much by his own impotence as he is by Bartleby's calm exterior and commitment to tedium. It is not only that Bartleby prefers not doing practically everything, he does it effortlessly and lacking in any emotion at all. The others begin involuntarily to prefer things.

Using color to reflect the mood, the monochromatic greens that soothe the eye and encourage a placid state visually echo the monotony in this ode to inaction. This visual style, broken by splashes of bright red and orange in Vivian's provocative wardrobe, and the mostly interior settings, accent the claustrophobic quality of dead end jobs. When the camera does venture outside, as drawings in a fairy tale, we see the office buildings and their dull design as citadels perched atop the hills where the freeway traffic flows constantly below, not a human in sight.

It is difficult to make a film about boredom without being boring. Director and co-writer Jonathan Parker in his first feature film, neatly packs it all into 82 minutes and makes the most of a wonderful cast. Each showcases in flawless understatement a nuanced aspect of dull work making less productive lives. Glover, previously noted for small but memorable parts (Back to the Future, Wild at Heart), is perfect for the unique role of Bartleby. Headly's Vivian cavorts about or waves her feather duster with impeccable ineffectualness. Chaykin's Ernie carries his touchiness, simmering just below the boiling point, as he uses the toys on his desk as pacifiers. The entire cast offers marvelous, strong performances. Some little quirks such as the subtle Beatles references add charm. The disheartening message of Melville's allegory is intermittently transgressed by some very funny black humor. I am so glad someone made a very good film of one of my favorite stories.

David Paymer: The boss	Crispin Glover: Bartleby
Seymour Cassel: Frank Waxman	Glenne Headly: Vivian
Director: Jonathan Parker	Co-writer: Catherine DiNapoli