Long ago, Javier Bardem told me he could never play a romantic hero. “Look at this face!,” he said in what was then halting English. “This is the face of a bad boy!” Of course, he was so wrong: Bar…
, which he owns top to bottom he has the habitual smile of a benign uncle, albeit the uncle one suspects of having a secret porn stash in the basement.
Blanco inherited the company, which manufactures industrial scales, from his father. Miralles , the increasingly flailing head of production, was his childhood playmate when his own father worked for Blanco senior. Everyone is family and families are not just for working hours; one of the machinists comes around to clear out Blanco’s pool filter on Sunday morning, scraping away at the slime while the boss and his wife take breakfast on their terrace. Loyalty, that’s the ticket.
It is considerably more difficult to know what to do about José, the sacked worker who has set up a camp outside the company gates and keeps blasting accusations through a bullhorn. The gates themselves are also an issue: the outsize working scales that sit on top of them, announcingas a bastion of balance and precision, are slightly skewed. They skew further still when José decides to use them as a potty.
There are certain roles that demand bad wigs. This is one of them. The grey tea-cosy on Bardem’s head is having its own joke with the audience, which is very much the director’s kind of funny; many of the laughs build slowly in scenes where at least one person present has no idea what is going on and isn’t going to be told.
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