The Spanish Prisoner

Written and Directed by: David Mamet

For years I had heard the name David Mamet mentioned in hushed and reverent tones. Nothing I overheard gave me any insight into the man or his work, beyond general acclaim. Then, at some point, I saw a trailer for "The Spanish Prisoner," made the Mamet connection, and had been on the hunt for this film ever since.

Joe Ross (Scott), an up-and-coming engineer, runs across wealthy financier Jimmy Dell (Martin), who earns his trust and promises to help him out of an unpleasant work situation and bring him into ranks of the wealthy elite. Ross quickly realizes that Dell is actually a con-man and turns to the FBI for help. But trying to con a con-man brings Ross deeper into Dell's web of deception.

The plot of this film resembles something from Hitchcock at his best. There are layers under layers and twists within twists, and major reveals which only lead to more complexities. With so many unpredictable turns, "The Spanish Prisoner" manages to be an edge-of-your-seat thriller without requiring much action. Some cliché twists are used, but not in any predictable way or for any conventional purpose.

The noir-style dialogue (often delivered weakly) does not seem fit well with the modern setting, though it does add a bit of texture to the story. The acting is not terribly strong, although the weakness plays a major role in the overall effect of the film: when everyone is acting, it becomes much harder to tell when a character is telling the truth and when they are being deceptive (or even when they are intentionally trying to reveal a deception to hide some other truth).

I absolutely enjoyed this film. Despite its few but noticeable weaknesses, "The Spanish Prisoner" stands out as quite unique. It hearkens back to a time when intrigue and plot were king in films, and the actors were key players in delivering the story.

Vertigo

Directed by: Alfred Hitchcock

Written by: Alec Coppel, Samuel A. Taylor (screenplay); Pierre Boileau, Thomas Narcejac (novel)

It may hard to imagine now, but Hitchock's masterpiece "Vertigo" was apparently not well received when it was released. In retrospect, though, it is clear what a cinematic achievement the film represents, and its influence is hard to ignore.

Detective Scottie Ferguson (Stewart) has been forced into retirement after a terrible accident in which his acrophobia resulted in the death of another officer. But when his old friend Gavin Elster (Heldmore) asks him to follow his wife Madeline (Novak) around, Ferguson agrees to take the job on. It seems that Madeline is periodically possessed by the spirit of one of her ancestors, and Ferguson becomes obsessed with breaking her of this problem until she throws herself from a church bell tower. Her death, though, is not the end, and nothing is quite as it seems.

The film starts off slow - almost tediously slow. As Ferguson stalks Madeline around various locales in San Francisco, there are long droughts lacking dialogue or meaningful action. But be patient - the payoff is absolutely worth it. (Also, it's fun to look at old San Francisco.)

There are several major twists placed throughout the story, so don't get too comfortable thinking you know what is going on. I'd seen this movie before several years before, and I was still surprised at one point. There are layers and stories-within-stories which can make trying to follow along somewhat dizzying. (Hence, the title.)

This may not be James Stewart's most spectacular performance, but it is definitely one of his most believable. After a few early scenes, he easily shakes off that "Hey, you're watching Jimmy Stewart!" feeling. He manages to play his character subtly, providing him a rich range of feelings without necessarily needing to show all those feelings.

Lastly, it was fun to see the film which plays such a large part in another one of my favorite films - "Twelve Monkeys."

"Vertigo" is an excellent starting-off point for those unfamiliar with Hitchcock's work. It is easily the most accessible film while also being representative of his style. It is absolutely a classic.