Operator

Is this a poor man’s Her?

Sort of. But that’s not necessarily a bad thing.

MV5BMjExMTMyOTk3OF5BMl5BanBnXkFtZTgwMTU4NzEzMDI@._V1_SX1777_CR0,0,1777,740_AL_Joe (Martin Starr) is a programmer who’s probably on the spectrum and self-soothes with obsessively quantifying his every thought and feeling. His wife, Emily (Mae Whitman), is a hotel concierge with theatrical ambitions. They are a loving couple; she supports him, literally lays atop him light a human weighted blanket, and he applauds her every written word.

And then it all goes to hell.

Basically, he’s working on one of those phone operating systems where a customer calls in wanting to talk to a human but instead gets lost in a sea of options. His operating system is very sophisticated and intelligent, and like Alexa and Siri, she’ll need a voice, a calming but confident presence, and Joe figures: who better than his own wife and empathic helpmate, Emily?

Meanwhile, Emily has just joined a troupe of actors who put on teeny tiny plays that are achingly revelatory and personal. She has promised Joe not to use him as material, but he proves too tantalizing a subject.

So when their marriage hits the rocks, Joe starts dialing in to hear the operating system that sounds like his wife but never says no, and Emily starts flinging Joe’s most innermost personal shit across the stage just to see what sticks. It’s ugly, but it’s also fascinating.

Operator is funny, actually funny, and it’s anchored by two very bright performances by Starr and Whitman. But it’s also analytical and thoughtful and satirical. In short, it’s well-balanced and interesting, and if it doesn’t 100% work out in the end, it gets close enough. It will inevitably be compared to Her, but even if it’s a less attractive cousin, it’s still pretty good company to keep.

 

 

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