3.2.24
Fair Play is a surprisingly prickly ‘corporate thriller’, a subgenre of film that appears to be increasingly popular each year. Through the observation of an increasingly toxic relationship, the romance of the two leads (Phoebe Dynevor’s Emily and Alden Ehrenreich’s Luke) begins to curdle as her star rises at the corporate office where they both work, in spite of his falling. What begins as a subtle power imbalance between the couple mutates into impotence, attempted dominance and total disharmony.
A clash of career ambitions and gendered interlacings becomes more and more unbearable for them with each scene. While the metaphor connecting these ambitions is sometimes heavy-handed at times, it aptly depicts how weakness and insecurity manifest as domestic control. The script provides incisive commentary on male privilege, workplace competition and an exploration of the feminist concept of the ‘glass ceiling’, all of which I think are considered intelligently. However, the repetitive settings and melodramatic dialogue limit the film’s cinematic potential. The tense plot builds steadily but lacks surprises and nuance, thus Fair Play succeeds greatly as a sociological study and slightly less so as a narrative drama.
Other personal highlights involve the role of Eddie Marsan as the sneering company boss Campbell. He promotes Emily’s talents through gritted teeth while indulging Luke’s entitled complaints. His characterisation captures the dynamics that allow toxicity to fester in competitive environments, as do many of the other predominantly male cast members in the stylish office setting.
For those interested in the psychology behind abusive and manipulative relationships, Fair Play provides plenty of insights. While not of the standard of other corporate thrillers such as Margin Call or The Big Short, it joins that collection of films peering behind the curtain of elite financial organisations, whilst also exposing male characters as problematic rather than celebrating them as antiheroes.