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7.2/10
Senior Film Conservator
A definitive 7.2/10 rating for a film that redefined the boundaries of cult cinema. The Working Man remains a cornerstone of transgressive art.
If you like old-school Hollywood charm and actors who know how to command a frame with just a raised eyebrow, you’ll probably get a kick out of The Working Man. If you need explosions or breakneck pacing, look elsewhere. This is for people who like movies that smell like old libraries and well-worn leather.
George Arliss is the whole show here. He plays this wealthy shoe guy, Reeves, who just sort of drifts into his competitor's life. It feels less like a corporate takeover and more like a guy bored out of his mind looking for a new hobby.
Watching him try to navigate the actual factory floor is the best part. You can see the actor having fun with the idea of a man who usually signs checks suddenly having to deal with real people. It’s genuinely funny in a low-key, dry sort of way.
Bette Davis shows up, too, though she’s not quite the force of nature you see in her later stuff. She’s fine, but the movie really belongs to Arliss and his dapper suits. Sometimes the dialogue feels like it’s being read from a manual on how to be a gentleman, but that’s kind of the charm, isn’t it?
There is this one scene where he’s trying to fix a machine or talk about shoe soles—I honestly lost track because I was distracted by how much the set looked like a giant shoebox. It’s very 1933 in the best way possible. 👞
It’s not perfect. The whole premise is a bit of a stretch, and you have to just go with it or you’ll be sitting there asking, 'Why isn't anyone checking his ID?' for ninety minutes. Just don't. Relax a bit.
It’s a breezy watch. A bit like eating a light lunch—you’ll feel satisfied, but you won’t be thinking about it for days afterward. And sometimes, that’s exactly what you need on a Tuesday. 🤷♂️
