Classic Review: Office Romance (1977)

Office Romance took this reviewer back to a time when romantic comedies had substantial budgets and a high level of prestige behind them. It is a shame that it was made under an oppressive Communist regime and features subliminal propagandistic messages about the supposedly warm, friendly atmosphere in Soviet workplaces. When one divorces it from the context in which it was produced, it becomes much easier to admire the craft that went into it. It is more than just a piece of Soviet-produced escapism. It has handsome production values, committed performances and a script that takes the time to properly establish conflicts. There’s nothing revolutionary about the storyline or the film’s aims, but one can’t help but appreciate something that is this well crafted. Reminiscent of the efficiency and polish about the Hollywood studio system, one couldn’t say the same about the Netflix romantic comedies of the 2020s. 

Ryazanov deserves most of the credit for the film’s effectiveness. He also wrote the stage play that served as the basis for the screenplay and took on directing duties during the most fruitful period of his career. He frequently repurposed the clichés and genre tropes of American films, but managed to give them a distinctive Soviet flair. Office Romance calls back to screwball comedies like His Girl Friday and The Shop Around the Corner. It tells the story of a socially awkward, shy economist, Anatoly Novoseltsev (Myagkov), who is afraid of his cold, unfeeling employer, Ludmila Kalugina (Freyndlikh). He is a single father and believes that he needs to get a promotion if he is going to provide adequate financial support for his sons. His friend convinces him to seduce his boss in an effort to soften her up and make her more willing to offer him a promotion. He struggles to worm his way into her heart but eventually achieves a breakthrough and convinces her that she loves him. Just as they begin to get close, their relationship is threatened by the revelation that Novoseltsev might have been deceiving her all along. 

Office Romance is distinguished by Ryazanov’s focus on bringing the setting to life and immersing us in a fictional version of 1970s Moscow. He drops in artfully choreographed montages of snow dappled trees, throngs of middle aged workers rushing through the streets and sunlight reflecting off of office buildings. The city looks like it has been put together by a set designer who works with models. The harsh, severe lines of the buildings and the meticulously planned out gardens are so neatly put together that they seem like a perfect fit for the genre.

Nancy Meyers and Nora Ephron have been noted for their obsessive interest in featuring houses that have been interior designed to within an inch of their life. Ryazanov takes that approach to the next level. Both interiors and exteriors look so carefully organized that they appear to be fake. This artificiality doesn’t take anything away from the genre and reinforces the fantastical tone that Ryazanov sets in place. This film isn’t set in the real world. It is set in a universe in which people spend all day gossiping about each other’s love lives and thinking about what dress they will be wearing to one of the many dates that they go on. There’s no room for practicality in this land of romance. 

The artificiality extends to the writing, as characters seem to communicate in proverbs and flowery romantic poetry. They deliver their dialogue in a heightened tone and the actors seem to relish the fact that they aren’t having to speak like real office workers. Freyndlikh and Mygakov are immensely likeable performers and they bring their characters to life without any of the cynicism that can end up dominating romantic comedies. Viewers can believe in their joyful sincerity because they are so divorced from the rationality that governs normal human emotion. It is impossible to resist their charms and they make the best of roles that allow them to experiment with their screen personas. 

Office Romance allegedly enjoys a reputation as a Christmas classic in many post-Soviet nations and it’s easy to see why. With its perky theme song and unusual length, it seems tailor made to be played at a lengthy Christmas party. One could duck in and out of the room without missing anything or casually chat with a family member whilst gazing at a dancing Ludmila out of the corner of your eye. This is not to say that it isn’t enjoyable when watched in other contexts, but it does have the feel of one of those beloved classics that is best consumed in a group setting. 

Perhaps I will force my family members to sit through it in the future. 

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Zita Short

I am passionate about screwball comedies from the 1930s and certain actresses from the Golden Age of Hollywood. I’ll aim to review new Netflix releases and write features, so expect a lot of romantic comedies and cult favourites.