Complete list. :-(
It isn't love that makes the world go round.
Joe Moore has a job he loves. He's a thief. His job goes sour when he gets caught on security camera tape. His fence, Bergman reneges on the money he's owed, and his wife may be betraying him with the fence's young lieutenant. Moore and his partner, Bobby Blane and their utility man, Pinky Pincus find themselves broke, betrayed, and blackmailed. Moore is forced to commit his crew to do one last big job.
"Everybody needs money. That's why they call it money."
I do not think there is a line of dialogue that is more David Mamet, in cinema, than the one above. On the face of it, it essentially makes no sense, but when said aloud, in his cadence, you know exactly what is meant and everything it does not mean. It is perfect Mamet dialogue.
The surprise with Heist is that it is not delivered in that flat Mamet style. Rather, simply by the casting of the three leads: Gene Hackman, Delroy Lindo and Danny De Vito, he changes his style. Hackman, Lindo and De Vito are not classic Mamet actors. They act. They are not dialogue delivery devices. Compare their…
My motherfucker's so cool, when he goes to bed, sheep count him. Mamet's most quotable film this side of the "always be closing" scene.
This is Mamet unchained! There are a handful of writers working today that have such a distinct voice and style that you can tell who wrote the screenplay after only a couple of lines. Tarantino, Sorkin, and Mamet all come to mind. All also write mostly masculine, cut throat dialogue. Well I got news for you. Mamet script would make any of those other scripts its bitch. Mamet is as hardcore as it comes and he lets it all hang out in this film.
Heist is, believe it or not, a heist film. It is also, wait for it, a heist film that cons the viewer. Of course you know this going into a post modern heist film, so you…
David Mamet's Heist falls in comparison to his directorial debut, House of Games. I liked how Mamet worked on a much smaller scale in House of Games. In Heist, Mamet branches out into caper territory. There is not much originality to it. Everything here has been done before, just much better and more exciting. Only a couple of the many twists and turns come by surprise. Mamet packs a relentless amount of plot twists in 109 minutes. The main heist is the only exciting part about this film. I was surprised by how poorly written some of it was considering it was written by David Mamet. Many lines are even unintentionally hilarious like "Everybody needs money. That's why they call it money." The back and forth conversation between characters is interesting, but that is because the actors in this film are giving it their all.
Things I learned from Heist:
1. To commit a robbery, once must always employ an explosion as distraction.
2. I should shave my fucking moustache.
Recentemente, no comentário que fiz ao filme Wag the Dog do Barry Levinson, recebi uma resposta do amigo @Artorias, dizendo que o filme em questão tinha entre os argumentistas um sujeito chamado David Mamet, considerado por ele, um dos melhores escritores de diálogos. E sendo que, também aprecio visualizar falas de qualidade nos filmes que vejo, decide assistir a mais um trabalho de Mamet, tendo em conta (admito, sim) que nunca tinha ouvido falar do sujeito.
Porventura, tinha em mãos Heist, que não só tem a assinatura de Mamet no guião, assim como é ele que está sentado na cadeira de realizador. E tenho de reconhecer, que no final da sessão, senti uma certa decepção.
Longe disso, os diálogos não…
Typical Mamet hyper-masculinity infused into a standard heist flick (I mean it's called simply "Heist" for god's sake), which under normal circumstances would be fine, but Mamet's strengths as a director are not on display and while I love Hackman, the physicality the part required seemed better suited to a younger man (you're asking me to believe he was able to overpower a much younger, fitter, security guard?), but that would provide it's own unrealistic narrative challenges. Just a little choppy.
Mamet's fussy dialogue feels much more natural in the realm of con-artists than in his 'State and Main' sitcom world. Like ‘House of Games’, the action appears to be set in the physical world, but it’s actually unfolding on a cerebral plane, high above anything we can see.
The more I think about it, the more ‘Heist’ boils down to the Waverly Films ‘Master Prankers’ sketch, so my patience for this silly bit of business comes down to the cast.
What do I like? Hackman grumbling and yelling. The titular heist on a runway, with genuinely electric tension built from low budget Michael Mann ingredients (and no music). Sam Rockwell with a Beastie Boys moustache. Ricky Jay intentionally getting hit by a car. “She could talk her way out of a sunburn.”
Counts against it: anything involving real action/stunts. Danny DeVito. Rebecca Pidgeon. Gene Hackman’s stupid boat.
i wouldn't tie my shoes without a back-up plan...
One of the most quotable movies ever. Almost every single line is memorable.
This review may contain spoilers. I can handle the truth.
David Mamet screenplays are all about the details, the particulars. Not just in the way that every word is important, but in the way that every piece of punctuation is important. You could listen to a David Mamet movie and almost get the full experience of watching one. Con artist and heist movies are all about the details, the particulars. Not just in the way the characters plan their jobs, but in the way the movies lay out clues for the audience. Which is why David Mamet and con jobs make such a great pair. And when he went so overt as to actually name one of his movies Heist and put himself out there like that, he delivered.
How the mind can play tricks on a person... I was quite sure I had seen this movie before, but catching it on TV today I'm convinced that this is the first time I've seen it.
More than anything else, this film is defined by its witty dialogue and oneliners that crack you up. I noted down a few, but there are many, many more and they alone make this film worth watching.
Joe: Nobody can hear what you don't say.
Jimmy: So, is he going to be cool?
Pinky: My motherfucker's so cool, when he goes to sleep, the sheep count him.
Pinky: I would've loved to do that Swiss job.
Joe: It's a good plan.
Pinky: Never liked…
And this has been another edition of Danny DeVito says the word "whore". And just like DeVito's pronunciation of that particular word, this is a great movie. Nothing new or game changing but just a very well made twisty heist movie.
"Everybody needs money. That's why they call it money."
One of the best scripts Mamet has ever written and perhaps line for line the most smirk inducing. Every five seconds a crook delivers a particular witticism that will do nothing but make you grin. All this invariably hinges upon a wonderful cast though that shines throughout. Devito is at his best, nailing lines that would seem all but impossible in the hands of an amateur while Sam Rockwell adds further evidence to the claim that he is perhaps the most underrated actor of our time. And Ricky Jay, of course, amazes.
Yes, there's a heist, well two actually, but it's also about a con, like many of Mamet's films.
And also like many of Mamet's films it's endlessly quotable. He is one of the great writers of dialogue but with an utterly distinctive voice, you know Mamet when you hear it. And as such it might not be for everyone, but if you love back and forth you've got to love this.
And as for the heist, the plan, the con. Well, what you're expecting is that every angle, every move has been worked out, every cross and double cross has been anticipated. But it hasn't and there is one very significant issue, one death which was not anticipated and which is waved away as just being one of those things, an unfortunate consequence, but in truth it was just down to carelessness.
But I guess people can be careless.