Balls Felt Like Concrete
N.Y. Times critic A.O. Scott has delivered one of his perfect little sonnet pieces on James Foley and David Mamet‘s Glengarry Glen Ross (1992). Except he doesn’t mention Foley. No one who talks about this film ever does. Because GGR is a show about one thing and one thing only — Mamet’s “hard-boiled, lyrical mysticism,” as Scott puts it.
Except it’s not, as Scott infers, a commentary on the “the current economic crisis [that] had its origins in the real-estate bubble and bond market frenzy of the last decade.” Nor is it an essential expression of the Clinton-changeover ethos of 1992, when the film was released. Glengarry Glen Ross is based on Mamet’s real-estate job in the late ’60s but it became what it became because it understood and reflected the emerging greed and malice of the Ronald Reagan era — when the seed of everything that stinks today was sewn, in the view of Paul Krugman — and that is when the play’s vitality was greatest, when it gleamed and instructed like a demon orator.
I saw Gregory Mosher’s original New York production just before opening night — some time in mid-March of 1984 — with N.Y. Times theatre critic Frank Rich sitting a few aisles away, and with a truly electric snapping-turtle cast — Joe Mantegna, Mike Nussbaum, Robert Prosky, Lane Smith, James Tolkan, Jack Wallace and J. T. Walsh. And I am telling you that night was it — the Glengarry Glen Ross apogee.
Foley’s film improved upon Mamet’s stage play by way of Alec Baldwin‘s live-reptile speech to the salesmen (“Third prize is you’re fired”) and Kevin Spacey‘s performance as the office manager (i.e., Walsh’s part), but was otherwise only so-so. In my head I’ve always blamed this on the influence of producer Jerry Tokofsky, whom I’ve always heard was a bit of a cowardly lowballing weasel, but I wasn’t there so what do I really know? Nothing.
The movie took too long to get funded and so, as noted, it came out too late — it missed the cultural synchronicity. And Foley smothered it in standard-issue noir atmosphere — darkness, neon, constant rainstorms — and in so doing blew off the unfettered, straight-from-the-shoulder, granite-like clarity of the play. And Jack Lemmon overdid the jittery desperation of the sweaty downswirling salesman known as Shelley “the machine” Levene. (For my money Robert Prosky did him better on-stage — anxious and vulnerable but also snarly, pugnacious, testy.)
Worst of all the film doesn’t have Joe Mantegna as Ricky Roma — a role that Mantegna owned like Humphrey Bogart owned Duke Mantee in The Petrified Forest and Jason Robards owned Murray Burns in A Thousand Clowns. Al Pacino does very well with the part — his handling of the big existential pitch speech that closes Act One is effectively phrased — and we all understand that movie stars like Pacino routinely take parts away from guys like Mantegna for the most sensible of reasons, but it was still wrong.
To my knowledge Mantegna’s Roma was never captured on film or tape (even audio tape), and for this history does not look kindly, especially upon Jerry Tokofsky.
Robert Prosky, Joe Mantegna in Gregory Mosher’s original 1984 stage play of Glengarry Glen Ross
Mantegna would have killed on screen but Al got them the money, Joe is good in everything he does, i just saw him a pic where he plays a brooklyn cop chasing some jewish guys who were smuggling guns into the country..
Interesting that stage versions now sometimes include the Alec Baldwin scene, even though it was written specifically for the film. Saw a staging in Chicago about 15 years ago in which the Baldwin part was played by a woman. Didn’t quite work.
Wells to vansmith: Thanks for agreeing, but wait, hold up…what do you have against periods and capitalizing the beginning word of a new sentence? Jewish guys smuggling guns? That was Mamet’s Homicide, no?
sorry for the bad grammer, was multitasking…homicide it was…
Although, the Gregory Mosher production wasn’t technically the “original” one — wasn’t there a London premiere like a year or so earlier? (Unless you literally meant the “original NYC production,” there.)
But otherwise…yeah, agreed, although the problem isn’t really with Foley’s direction. The only problem, if there is one, is that it’s a play. But you don’t open up Glengarry Glen Ross. You honor the milieu and the words, and you film it as best you can.
The way Foley did it, which calls to mind the stage, is intentional. You get a sense of the intimate, but also the claustrophobic. The close-ups and the wonderful rhythm of the cutting are all the cinematic accoutrement the thing needs.
No, it’s not a perfect movie. But it is a great adaptation of a close-to-perfect play.
i love prosky in THIEF, he has one of the best scenes ever written for a tough guy…
Obviously the success of the play and movie is all Mamet, but I feel like Foley gets short-changed. He paced the text expertly, knew how to frame the shots and move the camera. I think in lesser hands, that movie could’ve been fucked, but Foley knew that the key would be to stay invisible and let the actors and their words be the show.
Also, didn’t I read somewhere that Pacino was, in fact, the original contender for the Ricky Roma-role in the Mosher production, but couldn’t do it because of conflict reasons?
Mantegna tells a great story about how Mamet broke it to him that he sold GGR to Hollywood.
DM: I sold the movie rights. Fuckers gave me a mint.
JM: That’s great! (JM polishes his Tony award.) When do we get started?
DM: That’s the bad news. Pacino wants to play Roma.
JM: Those stupid fucking cunts.
DM: But I have some good news. (Plops script for House of Games on desk in front of JM.) I want you to play Mike.
JM: Thank you, sir. May I have another?
DM: And I’m getting my wife to play the female lead so you can be assured you’ll be the best thing in it.
(Both men laugh)
DM: We laugh because it’s funny and we laugh because it’s true.
That’s a true story.
Something happened between At Close Range and Perfect Strangers. I’m not sure GGR is it, but in regard to it, I think we can all agree that it’s the script that shines through. Foley’s use of solid blue and red irks me whenever I watch this.
Didn’t Mamet also promise Mantegna THINGS CHANGE and HOMICIDE as well?
I’m with Circumvrent on this one – Foley could easily have either fucked this up or just made it pedestrian, but he gave it enough juice to let the words sting, yet stayed back enough to give the actors room to make them sting. And while I wish I had seen the original stage production (I also hear the recent revival with Liev Schrieber and Alan Alda was pretty good, and I’m sorry I missed that) with that cast, I thought everyone in the film – yes, even Lemmon – was good.
Also, the economy was, as I remember, doing rather badly in the early 90′s, so I think the movie was still relevant.
Jack South P.I.:
Oh. My. God.
(I also hear the recent revival with Liev Schrieber and Alan Alda was pretty good, and I’m sorry I missed that)
The set design was extraordinary (there was an audible gasp at the reveal of the office), and Shrieber was phenominal – on par with Pacino’s interpretation/performance, but Alan Alda basically did a Jack Lemmon impression the whole way through – the mannerisms, the voice, everything. Very, very bizarre.
Haven’t watched the YouTube clip here, but I remember Pacino’s hair changing noticeably from shot to shot during one of his monologues. Distracting.
Bandsaw Vigilante – you’re right. GGR was first staged September ’83, at the National Theatre in London. Jack Shepherd was Roma, Derek Newark played Levene, directed by Bill Bryden.
Thanks for the background and insight, Jeff. Like many people, my first (and thusfar only) exposure to GGGR was the film. I loved Pacino but would like to have seen Mantegna’s take on Ricky Roma. Can’t say that I feel Lemmon overacted, though. I’ve always thought it was his best dramatic performance, at least among what I’ve seen.
Jack South P.I. – It’s also funny because Lindsay Crouse is 10 times the actor wife #2 Rebecca Pidgeon is.
Yeah, can’t go along with downplaying Lemmon or Foley’s excellent contributions. The movie is solid gold from top to bottom– not just Spacey, Lemmon, Baldwin and Pacino, but come on: Arkin, Harris, and Jonathan Pryce too.
WILL YOU GO TO LUNCH POWER.
That said, that roll call JW got to see in the play sure sounds awesome, and Robert Prosky should always be spoken of with reverence.
And James Foley is maybe the only director in the world who could and would follow up “At Close Range” with… “Who’s That Girl” the very next year.
Hold on, we’re down on Lemmon’s performance in ‘Glengarry Glen Ross’ now? This reeks of “I saw it back when it was really amazing” syndrome.
Nothing against Prosky, because I’m sure he was great. But Lemmon is amazing. The reason Alda imitated him is because that has become the definitive way to play the part.
Also, one of Pryce’s best performances. Other actors have been nominated for lesser performances, not to mention less screen time.
Was there anyone luckier in getting scene-stopping monologues IN THE 90′S than Baldwin? He had both the Coffee is for closers one in GGR and the “I am God” in MALICE in a one year period (’92-’92).
Noiresque says: Lindsay Crouse is 10 times the actor wife #2 Rebecca Pidgeon is.
Dead right. Crouse is a solid actor, unlike Pidgeon. Unfortunately, they both drank the Mamet Kool-Aid when it came to giving intentionally flat, uninflected performances.
There should be a rule that directors can only cast their wives if other filmmakers have ever hired them to be in their movies. Crouse passes that test with flying colors. Sorry Rebecca…
I thought Crouse was pretty good in House of Games
Glengarry Glen Ross was my favorite film of 1992 and I said way back then that Baldwin deserved an Oscar for his performance. Still feel the same way.
Unforgiven, Howard’s End, A Few Good Men, Scent of a Woman and The Crying Game were all nommed for Best picture that year. Only Clint’s pick would make my list today. Funny what time can do to the standing of a movie.
Sorry, but I swoon whenever I see Pidgeon in The Spanish Prisoner; I feel as backstabbed as Scott does by the third act. “Golly.” Are you kidding me? Those eyes could eat me for breakfast.
Deathtongue_Groupie said: Was there anyone luckier in getting scene-stopping monologues IN THE 90′S than Baldwin? He had both the Coffee is for closers one in GGR and the “I am God” in MALICE in a one year period (’92-’92).
Other than Paddy Chayefsky, who writes better monologues than Mamet and Sorkin?
After seeing Glengarry, I wrote a big article for my high school newspaper (I was in 11th grade at the time), naming it the best film of 1992.
I was such a nerd.
Have seen 100 or so plays on Broadway, including Pacino in American Buffalo, and Mantegna’s performance was the best I’ve seen. On stage GGR was perfectly paced. The film is a tad sluggish in comparison, never establishes the right rhythm.
Jack South: You know who writes monologues as well as Mamet and Chayefsky? Paul Thomas Anderson.
Just watched that clip after not having seen the movie in a few years. Holy shit, check out Al’s *Totally 1992 Mushroom Cut.* Long on the top, tight around the ears, short in back. That hair would make Matt Damon proud to this day. I wouldn’t say anything could necessarily make Pacino look more “youthful,” but that coif suggests Ricky Roma’s gonna peg his pants, bust out a floppy Beck hat with the ear flaps, and crank up “Under the Bridge” or some KLF or some “Humpin’ Around” while cruising in his Geo Tracker with his skater buddy Seth.
Ummmm, Sorkin is a preeminent example of one who writes great monologues? Who are you, Lawrence O’Donnell?
MilkMan said: You know who writes monologues as well as Mamet and Chayefsky? Paul Thomas Anderson.
Please refresh my memory about PTA.
(And you left out Sorkin. C’mon, Nicholson in A Few Good Men, Baldwin in Malice…what’s a brother gotta to do to get an Amen?)
ManhattanMadcap said: Ummmm, Sorkin is a preeminent example of one who writes great monologues? Who are you, Lawrence O’Donnell?
Here are some of Sorkin’s greatest hits. How can you not at least put this man in the discussion?
http://maddhadder.blogspot.com/2009/05/aaron-sorkins-10-best-monologues.html
@Jack South P.I. – there were Chayefsky scripts made in the 90′s? The things you learn at HE.
Notice A), I was talking about actors who got to say the lines, not the writers who produced them; and B) Paddy Chayefsky died in 1981.
See, this is the problem with allowing D.Z to continue posting – his leaps of logic are starting to affect others.
I was expanding on your thought to include other decades besides the ’90s. Thank you for your thoughtful addition to the discussion.
“How can you not at least put this man in the discussion?”
That link includes Michael Douglas’s climactic monologue in “The American President”? Who walks around with fond recollections of Judd Hirsch’s legendary monologue on “Studio 60 on the Sunset Strip”? Seriously? Aaron Sorkin’s monologues are hardly even among the best on television, not with David Milch and David Simon working in the medium. The monologues in a randomly selected episode of “Deadwood” wipe the floor with the majority of Sorkin’s portfolio. And if we’re talking about playwrights, Patrick Marber? Martin McDonagh?
Closer is one of the great underrated movies from the last ten years. Great monologues. Nice call.
Rebecca Pidgeon is to Mamet as Maxine Bahns was to Edwards Burns or Lisa Marie was to Tim Burton.
http://www.youtube.com/watch?v=nmq1mo6lI8w&playnext_from=TL&videos=5hiHdi1oXGE
“You, Lieutenant Weinberg?!?”
Still the most random, off-kilter piece of dialogue in any film, ever. In Nicholson’s legendary ranting, he takes a valuable breath to divert his attention to – Kevin Pollak? Throws off the rhythm completely.
Sorkin’s draft of MONEYBALL sucks. Zallian’s script was great and I have no idea why they feel they needed to fuck with it. Also, Sorkin’s dialogue might have some wit to it, but it has none of the depth of Mamet or even Zallian for that matter. He needs to stick to T.V.
The “You, Lieutenant Weinberg” line is a MASTERSTROKE OF CHARACTERIZATION, and I seriously can’t believe John Massey doesn’t “get it.”
Jessup’s in the middle of this STEAMROLLER rant about the nobility of the military and liberal pacifists watching from the sidelines who have the luxury of criticizing their methods. He’s working himself up into a frenzy about the intensity and weight of his responsibilities, then with bullying disgust seizes on Pollack, the douchiest, least intimidating, least physical guy within eye range, who’s apparently made it to a certain rank within the military clearly without seeing action, and as a lawyer no less. I’m sure his eminently Jewish last name factors in at least somewhat, even if Jessup isn’t explicitly prejudiced.
Jack South:
Jason Robard’s “Life is long” monologue in Magnolia.
Daniel Day-Lewis “I don’t like people” monologue in There Will Be Blood.
Phillip Baker Hall’s monologue at the beginning of Hard Eight.
And people complain that the HE comments section has diminished. Not after reading this! Thanks guys!!
Yeah, I don’t see any problem with the Weinberg line — it’s right in theme with Jessup’s macho chest pounding, and Nicholson lovingly lingers over the syllables with a hint of anti-Semitism.
The Weinberg line comes from the play where that character is a bit more confrontational towards Jessup earlier in the play. I guess they just wanted to preserve the monologue intact for the film.
Madcap – I actually think the monologues have a tendency to be the worst part of any David Simon project. Well, okay, I’m talking about ‘The Wire’ (I don’t remember any big monologues in the two miniseries), all the real monologues that I remember are like Bunny Colvin’s; they’re interesting, and they’re not bad, but they’re a bit too didactic to be great. I mean, okay, maybe I’ll give you D’Angelo talking about Deirdre Kresson’s murder, but that’s still not all that monologuey. Am I forgetting something?
Gordn27: I would tend to agree regarding the monologues’ comparative weakness within Simon’s work, but I’m thinking in particular of Bunk’s chewing out Omar outside the prison about the degeneration of the community, and Rawls’ Season One “Fuck you, McNulty” monologue at the hospital after Kima is shot.
Also, Stringer Bell’s “40 degree day” speech.
I don’t think of that as a speech — the dialogue is amazing in that scene. (Technically, it’s also written by Dennis Lehane, not Simon.)
And any scene with Omar is automatically a dialogue, even the scene which is actually not outside the prison (that’s the great season 4 scene), but on a bench somewhere.
But, yeah, I’ll give you some solid mini-monologues like the two being cited here, and that Bunk’s thing is great.
ICT Learning | Mobile Phone Panel | Education | Garderning | Health | Home Improvement | Business | Business and Finance | ICT Research | Michael Jackson
Thousands peoples have playing moshi monsters when you turn?
Playing while learning is good practice for parents understand.
websites
When we are looking for a job, at first we should prepare a proper cv (Curriculum vitae) or resume. A resume should be made in relevant with the kind of job we are applied.Do not ever use same cv or for all of kind of jobs.The requirement for engineering of course different to accounting or nursery, for example. Each company have an own recruitement procedure. for example walmart. Walmart using online application for employment or we can just called it wallmart online application form.
_______________________________
Diabetes Care | Jobs Info | About Obesity
With your capacity, certainly you might have seen praises before but I just need to add on to the many who have thanked you for what you have attained. Your articles are 1 of a kind and show great ideas. Thanks for your pieces!