Stephen Merchant and Ricky Gervais’ British sitcom, The Office, is still the benchmark of the mockumentary genre. Although the subgenre has been accused of hysteria and callous exaggeration (quite rightly, as even the pioneering This is Spinal Tap deployed the format for mercilessly parody), The Office won many admirers for the frank, uncompromising humanity of its humour, portraying honest situations and convincing characters with surprising compassion. Greg Daniel’s remake may not be as unsentimental or as heartfelt as its older sibling, but the Americanised The Office has emerged as one of the better sitcoms of the decade, offering affectionate humour for its wittily realised characterisations.

Set in small Pennsylvanian town Scranton, The Office follows the day-to-day experiences of a small branch of the Paper and Supply Company, Dunder Mifflin. Scranton Manager Michael Scott (Steve Carell) thinks he is the funniest and most popular member of his staff. Assistant Manager Jim Halpert (John Krasinski) offers a deadpan, sarcastic counterpoint for the office, pranking the pompous, militant Dwight Schrute (Rainn Wilson) and hooking up with beautiful receptionist Pam Beesly (Jenna Fischer) after three seasons of will-they-won’t-they unrealised romantic tension.   

The NBC sitcom has honoured the original series by uncovering new dramatic territory for its characters. Admittedly, the show stumbled badly in its debut season (offering repetitive jokes and story ideas from the previous series), but Daniels has subsequently carved a gentler, less acidic interpretation of Gervais and Merchant’s themes of social discomfort, workplace dissatisfaction and the subtle angst of human behaviour. The Office has pushed the original types into different directions (especially the supporting staff), expanding the show’s dramatic and comedic possibilities over its five seasons. The American version can wholly explore what was only hinted at in the previous series; for instance, Jim and Pam’s relationship has developed from an inter-office crush into a significant, complicated relationship.

One of the show’s great strengths is that it offers sympathetic qualities for even the most outlandish and eccentric of figures. Whereas Gervais’ David Brent could be defined by his misplaced confidence and shameless vanity, Michael Scott’s many, many social inadequacies stem from his misjudged sincerity, often organising seminars and lectures to explain topics (like homosexuality and feminism) of which he is painfully misinformed. Significantly, The Office benefits from the presence of Carell. Trying too hard in earlier episodes with a highly affected and contrived performance, Carell has relaxed in subsequent series to create a buffoonish, lovable everyman. Although his dated phrases and impersonations are embarrassingly inept (and sometimes offensive), Scott’s ignorant, unintentionally hilarious monologues are offset by his genuine concern for the welfare of his workers.

Krasinski’s Jim Halpert and Fischer’s Pam Beesly are engaging, charmingly earnest lovers, whilst the pompous, self-important Dwight Schrute is a brilliant comic creation; antisocial, humourless and obnoxious, he is a ultra-militant nerd whose fixation on the minutiae of workplace policy beautifully contrasts with the humble, unassuming Jim. Special mention must also go to the immoral, depraved quality insurance officer Creed (Creed Branton), whose corruption, dishonesty and degeneracy goes outrageously unchecked by his employers.

Witty, intelligent and dry, Greg Daniel’s The Office is a remake that works on its own terms as a highly sympathetic, honest sitcom that respects its towering predecessor with its understated humour and general excellence.

Andrew Moraitis