By Jesse Cataldo
Putting it in relative terms, the American version of “The Office” is something of a little brother to it’s acclaimed British counterpart.
On one side, it owes existence to the original incarnation; the two share the same executive producers and principal characters and the same basic story arc. But the original also casts a very long shadow. At the time of its premiere in the spring of 2005, the American version seemed doomed to a common fate of the younger brother, caught trailing in the wake of a sterling reputation.
Now, entering its third season on NBC, “The Office” has proven the rare example of a remake that actually works. Even more impressive is the fact that even with the many similarities, the show is more than able to stand on its own.
The season premiere finds major changes among the central cast. Jim (John Krasinski), fleeing from his feelings for the about to be married Pam (Jenna Fischer) has been transferred to a different office, where he’s already languishing. Back at the Scranton branch, we learn that unbeknownst to Jim, Pam has called off her wedding. Roy (David Denham) has lost his arrogant swagger and now, bearded and strangely pathetic, pledges to win her back.
Meanwhile, little at the office has changed. Manager Michael Scott (Steve Carell) is disciplined for telling Oscar, a closeted gay employee, that he was acting “faggy.” Horrified at the idea that anyone in the office could be secretly gay, and therefore possibly offended, he assigns creepy sidekick Dwight (Rainn Wilson) to determine if anyone else is hiding something. At the same time Michael, with a dangerous combination of good-heartedness and ignorance, sets out to convince Oscar that he accepts him for who he is. The combination of these two bumbling efforts quickly and messily outs him.
Here, as in the original series, a serious issue takes hold amidst an atmosphere of absurdity and awkwardness. Oscar’s homosexuality provokes varying reactions, from immature fascination to outright disgust. As Michael calls everyone together for a last-ditch face saving meeting these threads come together in a fantastic, cringe-inducing finale.
Like HBO’s “Curb Your Enthusiasm,” “The Office” represents a counterweight to the standard television comedy, drawing humor from painfully uncomfortable situations instead of wittiness or snappy dialogue. Like Ricky Gervais’ David Brent, Carell’s character is of suprising depth for someone who serves as the unwitting butt of his own ridiculous persona. Beyond his arrogance and stunning lack of self-awareness, Michael is a sad, small man, so concerned with having everyone like him that he can’t see how much of a fool he is. Carell works with these qualities to build a wonderfully versatile character, one who we can laugh at while still feeling some sympathy for.
With David Brent, this kind of weakness built itself to a surprisingly sad but ultimately redemptive conclusion. As for the American version, the premiere set up a season’s worth of potential conflict that may lead to a similar finish. By now, “The Office” has come far from the shadow of its predecessor, establishing itself as one of TV’s best comedies in the process.
GRADE: A-
