David O'ConnellDavid Mamet's HOUSE OF GAMES
June 30th 2008 05:57
Already a celebrated screenwriter and Pulitzer-Prize winning playwright by 1987, David Mamet decided to take the reins behind the camera for the first time with House of Games, a complex, constantly shifting story of manipulation and con men. It’s a ripping good yarn too, though perhaps an acquired taste of sorts in that it’s rife with his now-famous 'Mamet-speak' - instantly recognizable, rapid-fire, punchy dialogue with its stagy, contrived feel which isn’t always naturalistic. It quickly develops its own cadence however, and the actors are very important to the overall effect; critics have either loved or hated these unique Mamet traits over the years.
Lindsay Crouse is Margaret Ford, a successful therapist who has just published a new book. She has quite a few troubled patients including Billy Hahn (Steven Goldstein), who produces a gun during a session, threatening to kill himself because of a large debt he’s racked up. Margaret promises to do something to help him and that night ventures to the isolated bar known as the ‘House of Games’, where she confronts the man responsible for Billy’s debt, Mike (Joe Mantegna). Margaret is persuaded to take part in a confidence scam in a backroom poker game by Mike, who promises to wipe away Billy’s debt if she plays her part.
She does so, though things aren't exactly as they seem, and from here on the fun begins as Mamet throws twist after twist into his plot, Margaret soon falling for Mike and begining to take part in his confidence scams, fascinated by his shady life and hoping to write a new book detailing the intricacies of what he does for a living. But things on the surface can be very misleading and in the end who can really be trusted?
Mamet’s memorable film has an intriguing set-up and he delivers with more than a few surprising revelations along the way. Again, your enjoyment of the film may be dependant on how you cope with his occasionally exaggerated, heavily stylized dialogue which puts an emphasis on actors hitting their marks as they seem to be engaged more in verbal sparring matches at times - characters answering one another’s questions by firstly repeating them, for example, which is a Mamet trademark built into so much of his work.
The always excellent Mantegna is the real star of the show and he tends to overwhelm those around him with a dominating turn as the mysterious Mike. He shouldn’t really illicit much sympathy as a ruthless con man who does nothing but prey on the weaknesses of his victims, but Mantegna gives him strangely likeable dimensions. He was a regular in Mamet’s early films especially, including the first three (most notably the excellent Homicide in 1991); he’s also in Mamet’s upcoming new film Redbelt.
Linday Crouse, who was married to Mamet at the time - is not always believable as the gullible therapist but the strength of the screenplay means that her deficiencies don’t weigh the film down too much.
The supporting cast are very fine in smaller roles, including even more Mamet regulars like Ricky Jay, the late J.T. Walsh, and William H. Macy (who has a neat cameo in one scene), whilst the smoky, jazz-flavoured score by Alaric Jans is a perfect fit.
House of Games isn’t quite up to the standard of more recent Mamet works for the screen like the wonderful The Spanish Prisoner or Spartan but it’s an excellent example of his unique style and a natural starting point for anyone who comes across his work and wants to explore more – as I did many years again when I fell in love with his profane, Pulitzer Prize winning masterpiece Glengarry Glen Ross, and the 1992 film version directed by James Foley, with its stunning lead performance by Jack Lemmon.
Lindsay Crouse is Margaret Ford, a successful therapist who has just published a new book. She has quite a few troubled patients including Billy Hahn (Steven Goldstein), who produces a gun during a session, threatening to kill himself because of a large debt he’s racked up. Margaret promises to do something to help him and that night ventures to the isolated bar known as the ‘House of Games’, where she confronts the man responsible for Billy’s debt, Mike (Joe Mantegna). Margaret is persuaded to take part in a confidence scam in a backroom poker game by Mike, who promises to wipe away Billy’s debt if she plays her part.
She does so, though things aren't exactly as they seem, and from here on the fun begins as Mamet throws twist after twist into his plot, Margaret soon falling for Mike and begining to take part in his confidence scams, fascinated by his shady life and hoping to write a new book detailing the intricacies of what he does for a living. But things on the surface can be very misleading and in the end who can really be trusted?
Mamet’s memorable film has an intriguing set-up and he delivers with more than a few surprising revelations along the way. Again, your enjoyment of the film may be dependant on how you cope with his occasionally exaggerated, heavily stylized dialogue which puts an emphasis on actors hitting their marks as they seem to be engaged more in verbal sparring matches at times - characters answering one another’s questions by firstly repeating them, for example, which is a Mamet trademark built into so much of his work.
Mike and Margaret: who's conning who?
The always excellent Mantegna is the real star of the show and he tends to overwhelm those around him with a dominating turn as the mysterious Mike. He shouldn’t really illicit much sympathy as a ruthless con man who does nothing but prey on the weaknesses of his victims, but Mantegna gives him strangely likeable dimensions. He was a regular in Mamet’s early films especially, including the first three (most notably the excellent Homicide in 1991); he’s also in Mamet’s upcoming new film Redbelt.
Linday Crouse, who was married to Mamet at the time - is not always believable as the gullible therapist but the strength of the screenplay means that her deficiencies don’t weigh the film down too much.
The supporting cast are very fine in smaller roles, including even more Mamet regulars like Ricky Jay, the late J.T. Walsh, and William H. Macy (who has a neat cameo in one scene), whilst the smoky, jazz-flavoured score by Alaric Jans is a perfect fit.
House of Games isn’t quite up to the standard of more recent Mamet works for the screen like the wonderful The Spanish Prisoner or Spartan but it’s an excellent example of his unique style and a natural starting point for anyone who comes across his work and wants to explore more – as I did many years again when I fell in love with his profane, Pulitzer Prize winning masterpiece Glengarry Glen Ross, and the 1992 film version directed by James Foley, with its stunning lead performance by Jack Lemmon.
Mantegna in one of his most masterful performances
Writer/director David Mamet
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Comment by JohnDoe
Film & TV on DVD
This film made me an instant Mamet devotee.
If your interested I did a review of the film HERE
Comment by Janet Collins
The Social Critic
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Janet
Comment by Janet Collins
The Social Critic
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Comment by David O'Connell
Screen Fanatic
Comment by David O'Connell
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