★ 8 / 10
This film captures you from start to finish
Coco Sea
This film captures you from start to finish, like the music! The lead actor is handsome; the pace is deceptive; the mystery is jazzy yet confounding; the…
This film captures you from start to finish, like the music! The lead actor is handsome; the pace is deceptive; the mystery is jazzy yet confounding; the cast's acting is done well; and our faith in the goodness in some stays alive through the end. This clever and entertaining film is a must see!
The Spanish Prisoner was intelligently written and simply directed, a deception. The handsome and genuine Joe Ross --- naturally portrayed by the equally handsome Campbell Scott --- was your friend from the start. He is kind, easygoing, and neighborly. An inventor who trusts too easily, he is a loyal employee. His employer is portrayed by the wonderful Ben Gazzara, a master of unassuming and skillful dramatic arts himself. Steve Martin (famous comedian) was a surprise as Jimmy Dell, a jazzy crook. I would have chosen a different actor for the role of Susan; I think Joe deserved a beauty. A beautiful womin he resists would have magnified the nice guy quality.
Who wouldn't want to be on the beach with Campbell Scott? Who wouldn't want their boss to fairly compensate them for a great invention? How do you escape the inescapable being cornered, framed, and chased? You really must see this neat mystery!
★ 6 / 10
**_When you can’t trust anyone_** Shot in September-October
Wuchak
**_When you can’t trust anyone_** Shot in September-October, 1996, this is a Hitchcockian corporate espionage drama/suspense thriller, written/directed by…
**_When you can’t trust anyone_**
Shot in September-October, 1996, this is a Hitchcockian corporate espionage drama/suspense thriller, written/directed by David Mamet. It’s reminiscent of “The Firm,” just meshed with elements of the future “Matchstick Men.” While it’s not great like the former, it’s almost on par with the latter.
I find it the least of ’em because, although Rebecca Pidgeon is effective in the part of Susan, the role called for someone more alluring from the late ’90s, such as Marisa Tomei, Monica Bellucci, Salma Hayek, Yasmine Bleeth, Kate Winslet or Rachel Weisz. But that’s more of a cavil. The real issue is how unrealistic the story gets in the last act. I was ready for the spy inanities of “You Only Live Twice” to break out (speaking as a fan of that Bond flick).
Still, it’s worth checking out for those interested. Mamet’s entertaining dialogues are worth the price of admission. Meanwhile Steve Martin works well in a rare serious role and Campbell Scott is good as the every-man protagonist. Watch for Ed O'Neill in a surprise cameo.
It runs 1 hour, 50 minutes, and was shot in Islamorada, Florida; Manhattan; and the Boston area.
GRADE: B-
★ 7 / 10
Implausible but stylish mystery.
rmax304823
Basically a story about the theft of a "process", which we may here define as a "MacGuffin", around which an elaborate industrial con game is organized. In any…
Basically a story about the theft of a "process", which we may here define as a "MacGuffin", around which an elaborate industrial con game is organized.
In any game (an activity with rules, more than one participant, and a recognizable outcome) there are only three elements: (1) physical skill (you outdrive the cars pursuing you), (2) chance (you jump off the roof and an awning breaks your fall), and/or (3) strategy (you outwit your opponent). Unlike most action movies, Mamet's stories are almost entirely about strategy.
That might make it sound like rather less than it is. Mamet seems to love puzzles -- and puzzles within puzzles -- and the lengths people will go to manipulate one another and, man, is this a prize-winning example of his obsession. As in "House of Game" we have a big con that goes a little astray and winds up not only with the theft of a priceless invention but murder as well.
I realize "Glengarry Glenross" is probably Mamet's most highly esteemed work but I think "House of Games" and "The Spanish Prisoner" are more engrossing because more things HAPPEN. Mamet's dialog always involves a lot of byplay, repetition, non sequiturs, and general ellipsis, but the elegant stylization isn't worth much if it doesn't go anywhere. Here the plot moves from the Caribbean to New York to Boston and with each step the conundrum becomes more difficult to figure out.
Of course the plot is an implausible one because it depends on the heavies being able to predict precisely the moves of the mark, down to small basically unforeseeable details, such as his snooping in a secretary's desk and stealing a souvenir FBI card out of her scrapbook. But it hardly matters because we're swept along so fluidly in the mystery that we don't really question these events. The viewer, by the way, is kept as much in the dark as Scott Campbell, the protagonist.
The performances are all quite apt. Scott Campbell might be a terrific inventor but he's kind of a dim bulb in other respects. He's the kind of highly conventional Schlub that wouldn't DREAM that anyone, let alone an entire organization, would lie with comfort and such powerful effect. You have to wonder what his voting record looks like.
Rebecca Pigeon is, I think, an actress who never got the kind of attention she deserves. She's beautiful in an unconventional, petite, brachycephalic, angular way and her locutions and expressions always seem to suggest she may know more about what's going on inside your head than you do yourself. She delivers Mamet's stylized speeches efficiently but in other films has demonstrated considerable range. "You never know who a person really is," she says. Something else. She may be treacherous, and he may be wary of an office romance, but they seem genuinely attracted to one another. Near the end, when Scott finally kisses her, she draws back and says, "Crikees!", as if amazed and tickled. This is a set up for a final scene when she is hustled into the police van. She's supposed to break away from the cops holding her, run to Scott, throw her arms around him, kiss him fiercely, and confess that her feelings had changed to true love. But no! Thank heaven she has no remorse at all and leaves him with a wisecrack and a sardonic smile. Mamet is nobody's fool.
I ought to mention the score. It's mysterious and melancholic. The main theme is built around a handful of descending notes and the orchestration is simple but a little odd -- bass, piano, quiet woodwinds, and chimes. It is so weird and catchy that it could just about stand on its own.
Repeat viewings don't spoil the polish, even though the viewer knows the solution to the mystery. It's an original commercial product and it's enjoyable.
89%
TOMATOMETER
· 61 reviews
80%
AUDIENCE
· 5K ratings
7.1/10
26.6K
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one of my all time favorite movies!!!!!! THANKS!