NB: SPOILERS THROUGHOUT
Neither the symptomatic alcoholism of despair apparently rife on the production line at SC Farb, the French branch of a German petrochemical company, nor the suicidal depression of it's boss merit more positive counselling remedies. Defective performance merits only elimination. This is the business of the firm's 'Human Resources' Department.
Tasked with this soulless duty, Simon suffers a personal crisis when his official persecution of Just, the CEO of Farb, only brings him face-to-face with 'mon semblable, mon frere' in the form of the family and corporate guilt that has finally overwhelmed Just. Simon must unwittingly trace lineal descent from the Nazi past in the deadly ruthlessness of the managerialist expedients his own job demands. Thereafter he suffers nightmares, both sleeping and waking, that seem to expose a vast and unrelenting corporate attack on the integrity of human nature.
Simon begins to realise that his inability to admit love or empathy for another is destroying his own closest relationship. Soulless techno music, which is the chosen relaxation of his professional colleagues, is designed to pound human sensibilities into mindless oblivion - the rhythmic tabula rasa which is the necessary conditioning for unquestioning de-personalized adherence to corporate doctrine. By contrast, it is shocking to experience the intense spirituality of the passionate and moving fado and flamenco performances elicited from some talented individuals at a 'works outing' organised by Simon.
Ironically, this musical enterprise was merely intended by Simon as a false flag cover for his investigation of Just, who was once himself a greatly talented musician, and at one time sufficiently enlightened to encourage such personal endeavours amongst his staff. A recording of Just's own performance in the Schubert string quartet 'Death and the Maiden' is heard, which strikes a beautiful and sombre note in the midst of corporate cultural savagery. Simon finds that he cannot bring in the damning report his superiors expected. He diverges from corporate 'new-speak' to utter the truth: Just is not mad - he is tired. It has become obvious to Simon that Just is tired from years of repressing his sense of guilt - he is, in point of fact, finally coming to his senses. And where the conscience-stricken Just leads, Simon follows with relief.
Notable is the aforementioned use of uplifting music in counterpoint to nihilistic rock. Also effective is the final reading from German engineering and managerial reports on the research and development of Nazi technology for the efficient mass extermination of human beings, that suddenly identifies such dishonest and perverted language as the origin of modern corporate group-think.
The film is not a political thriller in the racy Costs-Gavraz mode, but more a brooding journey into the European Heart of Darkness; feelings of Revulsion, rather than Revolution, being the intended effect.
Neither the symptomatic alcoholism of despair apparently rife on the production line at SC Farb, the French branch of a German petrochemical company, nor the suicidal depression of it's boss merit more positive counselling remedies. Defective performance merits only elimination. This is the business of the firm's 'Human Resources' Department.
Tasked with this soulless duty, Simon suffers a personal crisis when his official persecution of Just, the CEO of Farb, only brings him face-to-face with 'mon semblable, mon frere' in the form of the family and corporate guilt that has finally overwhelmed Just. Simon must unwittingly trace lineal descent from the Nazi past in the deadly ruthlessness of the managerialist expedients his own job demands. Thereafter he suffers nightmares, both sleeping and waking, that seem to expose a vast and unrelenting corporate attack on the integrity of human nature.
Simon begins to realise that his inability to admit love or empathy for another is destroying his own closest relationship. Soulless techno music, which is the chosen relaxation of his professional colleagues, is designed to pound human sensibilities into mindless oblivion - the rhythmic tabula rasa which is the necessary conditioning for unquestioning de-personalized adherence to corporate doctrine. By contrast, it is shocking to experience the intense spirituality of the passionate and moving fado and flamenco performances elicited from some talented individuals at a 'works outing' organised by Simon.
Ironically, this musical enterprise was merely intended by Simon as a false flag cover for his investigation of Just, who was once himself a greatly talented musician, and at one time sufficiently enlightened to encourage such personal endeavours amongst his staff. A recording of Just's own performance in the Schubert string quartet 'Death and the Maiden' is heard, which strikes a beautiful and sombre note in the midst of corporate cultural savagery. Simon finds that he cannot bring in the damning report his superiors expected. He diverges from corporate 'new-speak' to utter the truth: Just is not mad - he is tired. It has become obvious to Simon that Just is tired from years of repressing his sense of guilt - he is, in point of fact, finally coming to his senses. And where the conscience-stricken Just leads, Simon follows with relief.
Notable is the aforementioned use of uplifting music in counterpoint to nihilistic rock. Also effective is the final reading from German engineering and managerial reports on the research and development of Nazi technology for the efficient mass extermination of human beings, that suddenly identifies such dishonest and perverted language as the origin of modern corporate group-think.
The film is not a political thriller in the racy Costs-Gavraz mode, but more a brooding journey into the European Heart of Darkness; feelings of Revulsion, rather than Revolution, being the intended effect.