Published via Ecency

(source: tmdb.org)

Lately people are shocked to see so many big and powerful companies throwing so much of their workforce to the street. It is, therefore, good to be reminded that job security is an illusion in capitalism, at the least the wild, unrestrained capitalism which is practised and celebrated in USA. Many American writers took this state of affairs as inspiration for their works. One such work is Glengarry Glen Ross, Pulitzer Prize-winning play by famous playwright David Mamet. In 1992 it was adapted into eponymous feature film directed by James Foley.

The plot is set in small real estate agency office, which is run by John Williamson (played by Kevin Spacey). One day the office is visited by Blake (played by Alec Baldwin), executive from corporate headquarters, who informs the staff about sales competition – the winner will get expensive car, the runner-up will get set of knives while the rest will be fired. That doesn’t sit well with four real estate agents. Sheldon “Shelley the Machine” Levene (played by Jack Lemmon) used to be very good real estate agent, but the age got him and he is now in desperate financial situation. Dave Moss (played by Ed Harris) feels insulted by management and wants to answer to ultimatum by sabotaging the firm, stealing the precious “leads” (data about prospective buyers) and selling it to competing firm. George Aaronow (played by Alan Arkin) is clueless and most likely to get fired, but he is also indecisive. Richard “Ricky” Roma (played by Al Pacino) is the only of the agents that can boasts of some success, but he is currently involved in delicate negotiation with prospective client James Lingk (played by Jonathan Price).

David Mamet was aware that great stage plays seldom get adapted into great films, mostly due to its settings being limited to single location, that makes it less film-like. Mamet tried to address some of those issues when he adapted his play into script. New locations, like restaurants and streets, were added. It was his decision to add new character of Blake that proved to be double-edged sword for Glengarry Glen Ross. His short but memorable appearance, enhanced by Alec Baldwin in one of the greatest roles of his career, is going to be etched in viewer’s memory, while his perverted motivational speech at the beginning of the film looks like encapsulation of everything which is both wrong and fascinating about capitalism. After this brilliant episode, the rest of the film loses much of its steam and looks underwhelming in comparison, despite very good dialogue by David Mamet and some of the most formidable cast assembled. Another reason why Glengarry Glen Ross doesn’t live to its potential is uninspired direction by James Foley which, despite valiant attempts to create “noirish” atmosphere in the first half, doesn’t hide away film’s stage roots. Another problem is that almost all characters in the film are dislikable – while real estate are abused and exploited by cynical and arrogant management (with quiet character by Kevin Spicey being even slimier than flamboyant Blake), those same real estate agents are more than willing to con innocent people out of their hard-earned money for pieces of worthless land. Veteran Jack Lemmon in one of his last great film roles nevertheless manages to evoke a little bit of sympathy for his character. Al Pacino is good, but his nomination for Oscar for Best Supporting Actor is undeserved due to little bit of overacting. Glengarry Glen Ross, while well-made, is not a pleasant film to watch and it couldn’t be recommended to those who like stories to end happilly. Those who like great acting performances would, on the other hand, appreciate it.

RATING: 6/10 (++)