Review of Compliance (2012) by Steve R — 15 Sep 2012

What is the value of work? At what point does the virtuousness of labor become the arrogance of capitalism and how desperate have are we to even allow this to happen. Sundance shocker 'Compliance' aims at addressing relevant contemporary injustices with the simplicity only a backroom, ripped-from-the-headlines indie is able to utilize.

The second feature from writer/director Crag Zobel, 'Compliance' made its debut in Park City this year to decidedly mixed crowd reaction. There were bravos for its unflinching and unapologetic depiction of small town economic frustration, mixed with the usual 'disgust' from the moral police (who have made their presence all-too-known in the many worlds which art occupies); a pseudo lobby group bent on the destruction of free expression, as well as continuing the tradition of blind eye politics, simply never discussing that which supposedly corrupts psyche and society.

Under appreciated, under loved and overly expectant, fast food franchise owner Sandra (Ann Dowd) finds herself understaffed, undersupplied (of bacon, no less) and overstressed on a shift where the all-important 'secret shopper' may or may not make an appearance. When a prank caller disguised as local police accuses 19-year-old register girl Becky (Dream Walker) of theft, Sandra is put in the uncomfortable position of being "forced" to impose a pervertedly sadistic version of loss prevention. What begins as an already unnecessary strip search turns into sexual depravity, made particularly degrading by the continued acquiescence of this particularly desperate middle class representation.

As questions turn to orders and reluctance into acceptance, Sandra and company (including the boorishly alcoholic "fiancée") hold Becky naked hostage for the better part of the work day. The mysterious caller "Officer Daniels" (Pat Healy) smirks throughout, hidden behind the convenience of the far side of the landline. Some of the employees question what is happening, but the equally convenient, managerial response of "get back to work" is all that is needed when ones very employment becomes a question.

'Compliance' is a simple film. It is a low budget independent, which finds strength through simplicity (as most do). The restaurant plays as central location, with the constrictive, claustrophobic dimensions of its counter space, office and storage coinciding with the constrictive de-evolution of humanist free will.

As mentioned at its end, 'Compliance' is based on over 70 similarly reported cases in 2011 alone. Simple pranks combining the deviant realms of sexual restriction with the reality of work as preeminent to survival paint as clear a picture as any of a 21st century country losing its direction. Throughout history work, labor and moralistic financial gain have given rise to the idea of such activity as virtue. Essentially classifying the population further, this time through levels of integrity. But this integrity has since given way to prerequisite, thus eliminating the exclusivity from such a quantitatively subjective ideal. The prerequisite of work, as defined by those who provide it, and those alone, becomes a must and not a want; another obstruction towards the path of unbiased self-valuation.

'Compliance' relies on a certain type of audience. One that is willing to ask the metaphysical why, as opposed to the superficial one. By way of brief epilogue Zabel attempts to find balance between the two, which can ultimately be considered successful. What is central to the success of 'Compliance' is the ability to separate event from action and from why to how; how can this happen instead of why this is happening?

- Steve Rickinson.