Word: characterized
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Dates: during 1980-1989
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That led to two multi-hour auditions and, later, what Mosher calls "small but significant rewrites during rehearsal" to accommodate the part to her. Adds Mosher: "Madonna brings a backbone of steel. Mamet made the character, rather than a poor soul who is battered to the ground, someone about whom...
Whore is precisely the term the two men in the play use to describe themselves: they are not creators of films or even fans of films but enablers of films, and they pride themselves on letting projects advance or die based solely on commercial potential. Mantegna's character, so newly...
The plot, such as it is, turns on the attempts of the Madonna character to interpose her own project, an adaptation of a high-flown allegorical novel about the risks of living in an overly technologized world. The opaque and overwrought passages that she quotes sound unfilmable. Yet even if...
Mamet has said that his screenwriting, beginning with The Postman Always Rings Twice (1981) and including his Oscar-nominated script for The Verdict (1982), "forced on me the issue of plot." He acknowledged to friends that Glengarry was the first of his plays to have anything resembling a workable second...
Madonna's awkward, indecisive characterization seems calculated to help paper over those gaps and sustain suspense by keeping the audience from reaching conclusions. Thus the question "Can she act?" cannot be answered. The shrewdness in her performance is clear, but so, alas, is her thinking process: she lacks ease and naturalness. Mantegna, by contrast, superbly manages his character's clashing mental states. Silver is captivating, especially in a second-act tantrum that is equal parts rage, hurt, con-artist scam and genuine grief at a betrayal...