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In Reply to: Is it me or has Mamet been fucking up his recent films? posted by Dmitry on December 3, 2004 at 12:46:26:
And "Wag the Dog".
Glengarry Glen Ross, from early 90s was hard to watch, but powerful.
Like all artists, he's uneven, but I think "The Winslowe Boy" shows he's still got "it."
I sure envy him his wife. What a stunning face.
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I don't think Ronin's story is particularly worth much. It is downright trivial, common and unexiting. The direction and acting made that movie, not the story.You can keep his babe - she made a couple of decent songs, and she gave one or two good interviews, but man, as an "actress" she is shameful, deplorable... it was a torture to watch her.
His directorship has become rather one-dimensional as if late, imo. Too bad. Luckily his writing talent hasn't tarnished.
Imagine if he would've directed The Edge, Malcolm X or Glengarry Glen Ross. Oy vey!
dialogue and constructs fascinating conflicts.
He directs film the exact same way he does theater and I don't think it works. His best films succeed in SPITE of his direction not because of it.
As I said below, his style works better on stage, where it can build a sustained rhythm and intensity and create its own context, than on the screen. (I've seen 3 plays on stage.)But I do think that it *can* work in film - House of Games, Winslowe Boy (which isn't as stylized and benefits from a stellar cast), and to a lesser extent The Spanish Prisoner and Homocide. But its a dicy balancing act at best.
The screenplays are clever and intelligent. Didn't Mamet also write the screenplay for The Untouchables?
Just finished watching Spartan. I think it's the first Mamet that is really bad film-making all-around.
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