December 6, 2021



‘The Odd-Job Men’ Review: A Charming, Slight Yet Sharp Spanish Odd-Couple Comedy

“I don’t have the foggiest idea about my neighbors. There is a divider between us,” muses migrant jack of all trades Moha (Mohamed Mellali) in voiceover in Neus Ballús’ misleadingly unassuming, delicately cunning third element, “The Odd-Job Men.” “Water, power, gas, phone. Our structure is associated with all the others in the city and to the wide range of various urban communities. But, we’re still alone.” It’s a pleasantly clashing summation of this warpedly enchanting film’s focal distraction with association — likely framed and handily broken — between individuals isolated as much by predispositions, culture, language and nationality as they are by the dividers of their lofts. What’s more, who better to notice, keep up with and fix a portion of those associations than the handymen, electrical experts and developers we welcome into our homes to support our utilities, to tile our splashbacks and de-ice the AC.

The work of the voyaging repairman is for sure an odd one in that it expects us to give screwdriver-employing outsiders brief however frequently shockingly private admittance to our rooms, parlors and lives. Quiet, careful Moha, who is working through a trial week with this little Barcelona jack of all trades firm in the expectation of getting a super durable work, is positively mindful of that advantage. Yet, irritable, since quite a while ago confronted, delicate bellied (Valero Escolar), local to Barcelona and holding onto different biases toward his more youthful, fitter new understudy, appears to be substantially less struck by the way of thinking of the calling. For his purposes, there’s little sentiment to a task he has done always — and which maybe he additionally disdains a bit, partner it with the unavoidable frustrations and uncertainties that accompany middle age.

Under the energetic, straightforward organization of his significant other, Valero has worked for quite a long time as a component of a two-man group close by amicable stickler (Pep Sarrà). Appropriately named, Pep is anyway in his sixties and going to resign, thus Moha, to whom Valero takes a moment, implicitly bigoted aversion, is being prepared as his substitution. One of the qualities of Ballús’ and Margarita Melgar’s screenplay, which developed after a long course of workshopping and extemporization with her non-proficient cast, is in its lived-in discourse and sharp peered toward perception of the manner in which we can take cover behind language, particularly when there is a language obstruction: Valero, breezily palming off his own intrinsic biases onto others, cases to be stressed over recruiting a Moroccan individual for how the organization’s clients will respond to him.

Actually, throughout the week Moha goes through with him, he quickly demonstrates a hit with their weirdo choice of customers, who themselves structure a conveniently outlined cross-part of Barcelona’s populace traversing all ages, occupations and social classes. There’s the psychoanalyst who winds up giving the squabbling pair a casual free meeting. There are the devilish twin young ladies who wind up locking them for quite a long time on an overhang. There’s the older man restless to share his life span mysteries. Also, there’s the photographic artist who chooses to utilize Moha as a model, flaunting his slim body (a bone of conflict with Valero, who no longer squeezes into his suit and is leaving unconvincingly on a tight eating routine) in a progression of horrendous representations.

Ballús’ last film, the underseen “Staff Only,” likewise managed prejudice and diverse incomprehension, just there it was the white family from Barcelona on vacation in Senegal who were the lost soul. This time, that is actually Moha’s parcel, since regardless of being essentially the reading material “great worker,” he is, all things considered, on a time for testing in an unfamiliar nation and restless to substantiate himself. In any case, “The Odd-Job Men,” under a breezily funny tone set up by René-Marc Bini’s energetic score and helped through into DP Anna Molins’ spotless, cool-conditioned symbolism, is maybe significantly more intense in its deconstruction of Valero.

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