David Mamet's most consistently enjoyable film to date is a cool, typically clever con-trick drama packed with deliciously inventive twists that get ever more convoluted and unnerving as the plot proceeds.
The Spanish Prisoner (1998)
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Reviews Counted:58
Fresh:51
Rotten:7
Average Rating:7.4/10
Runtime: 1 hr 50 mins
Genre: Dramas
Synopsis: Moody, austere, and unabashedly clever, THE SPANISH PRISONER is familiar ground for puzzle-loving writer-director David Mamet. Campbell Scott plays the Hitchcockian hero Joe Ross, an unassuming... Moody, austere, and unabashedly clever, THE SPANISH PRISONER is familiar ground for puzzle-loving writer-director David Mamet. Campbell Scott plays the Hitchcockian hero Joe Ross, an unassuming fall guy who has invented a mysterious process worth an unnamed, but presumably enormous, figure. Joe's share in the reward is uncertain, however, and his growing nervousness is subtly stoked by Jimmy Dell (Steve Martin), a charming and apparently wealthy new friend. Suddenly Joe finds himself wondering who he can trust: his boss, his friends, Jimmy, the FBI, or even the girl at work who has a crush on him (Rebecca Pidgeon, speaking her husband's lines as only she can). The big con is always fun to watch from the inside, but Mamet knows it's even more fun when the audience is on the outside, left to imagine the con as all-encompassing so that everyone and everything is suspect. The fine ensemble acting and terse, loaded dialogue add to the atmosphere of total suspense while the muted but rich production design produces a too-believable longing in Joe, whose tiniest greedy qualm is still enough to spell disaster. [More]
Starring: Campbell Scott, Steve Martin, Ben Gazzara, Ricky Jay
Starring: Campbell Scott, Steve Martin, Ben Gazzara, Ricky Jay, Felicity Huffman
Director: David Mamet
Director: David Mamet
Producer: Jean Doumanian
Reviews for The Spanish Prisoner
David Mamet has really stumped us this time. This, his fifth film as writer-director, is his most mainstream work to date, but it also happens to be his cleverest, craftiest and most conniving.
This is probably Mamet's most purely enjoyable film since the gangster comedy Things Change.
A reminder that even intelligent films can be exercises of style over substance.
It feels rather manipulative and makes us feel a bit too conscious of the trickery at hand, especially given all the film's explicit warnings that things are rarely what they seem, and conversely, that things are usually exactly what they seem to be.
The Spanish Prisoner is for anyone who likes to think and feel along with the characters. Mamet offers us the same clues he gives to Joe; we can piece the truth together along with him.
It is a subtle and revealing drama about a confidence game filled with on-target insights into business, paranoia, deceit, pride, and entitlement.
David Mamet's latest contraption has its satisfying moments, but the film is rarely more than just that: a contraption.
Mamet keeps the settings simple, breeding mistrust out of the flat walls and corporate colors. He concentrates on dialogue and character, and this movie is warmer, and much closer to psychological realism, than the weirdly schematic House of Games.
One exceedingly well-crafted piece of manipulation that keeps the audience strung along with every intricate turn of the plot.
It rolls its sleeves above its elbows to show it has no hidden cards, and then produces them out of thin air.
As the movie keeps piling on surprise revelations, it becomes more convoluted without ever managing to be satisfying or exciting.
A film by David Mamet, blah blah blah, things are not what they seem, blah blah blah, don't trust appearances, blah blah blah. Is this thing over yet?
In typical Mamet fashion, the film is energized by a peculiar staccato rhythm and monotonal dialogue. And Campbell Scott is a classic Mamet hero, generating maximum tension with minimum emotion.
Mamet's dialogue is as deft as ever, and he draws a fine, complex performance from Scott, an actor whose talents are underused and underappreciated.
A classic mystery with clever twists and deceptive red herrings. Its ingenuity comes not from what happens but from what doesn't happen, or better yet, from what's hidden.
The film's title refers to the "oldest con in the world," an FBI agent tells Joe. Mamet's con -- letting his audience know they're being duped and getting them to love it at the same time -- must be one of the newest.
It playfully engages the mental faculties like no other film since The Usual Suspects.
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