The Spanish Prisoner and The Winslow Boy : Two Screenplays

Rating:
Summary: Some of the best writing cinema has to offer.
Review: David Mamet both writes and directs his own films but the strength of Mamet's film comes from his writing. "The Spanish Prisoner" and "The Winslow Boy" are both examples of Mamet's best screenwriting. The dialogue alone is legendary. One of the knocks against Mamet's work has been a disregard for the female characters in his work but "The Winslow Boy" has a vital and strong role that was brought to the screen very well by Rebecca Pidegon. These screenplays exemplify what is good with today's cinema and are essential reading for any one interested in viewing the art of the screenplay.

Rating:
Summary: Two fine scripts, too minimalist at times
Review: For those who have not seen the films, or have not read Mamet's trademark dialogue before, these two scripts will be bewildering. Following the nuances of the shifting allegiances and the fate of the Macguffin "process" in THE SPANISH PRISONER is difficult, but that's also the fun. I'll admit, even after reading the script carefully I'm not sure who conned who in the end.

THE WINSLOW BOY is a different kind of difficult. A justly-praised, fine adaptation of the Terrence Rattigan play. Problem is, Mamet expects us all to be familiar with the play. He doesn't bother to give any information about the characters (including ages) or their surroundings, except what you come to gather through the dialogue. Without a map to keep the character realtionships straight, this is a tough read, not least in some of the deliciously archaic words and manners of Edwardian England (where the story takes place, you learn eventually).

Because both scripts were written to be self-directed, Mamet does not share many details, even by his own minimalist standards. This, plus his annoying habit of writing out lots of camera angles, make them less enjoyable reads compared to most contemporary screenplays.

There is a lot to be gleaned her in terms of structure, story and character, however. I recommend seeing the movies first, and then deciding whether you want the scripts, Mamet's minimalist recipes for cinematic suspense.

Rating:
Summary: Two fine scripts, too minimalist at times
Review: For those who have not seen the films, or have not read Mamet's trademark dialogue before, these two scripts will be bewildering. Following the nuances of the shifting allegiances and the fate of the Macguffin "process" in THE SPANISH PRISONER is difficult, but that's also the fun. I'll admit, even after reading the script carefully I'm not sure who conned who in the end.

THE WINSLOW BOY is a different kind of difficult. A justly-praised, fine adaptation of the Terrence Rattigan play. Problem is, Mamet expects us all to be familiar with the play. He doesn't bother to give any information about the characters (including ages) or their surroundings, except what you come to gather through the dialogue. Without a map to keep the character realtionships straight, this is a tough read, not least in some of the deliciously archaic words and manners of Edwardian England (where the story takes place, you learn eventually).

Because both scripts were written to be self-directed, Mamet does not share many details, even by his own minimalist standards. This, plus his annoying habit of writing out lots of camera angles, make them less enjoyable reads compared to most contemporary screenplays.

There is a lot to be gleaned her in terms of structure, story and character, however. I recommend seeing the movies first, and then deciding whether you want the scripts, Mamet's minimalist recipes for cinematic suspense.