Few contemporary writers for the stage, TV and cinema have come close to David Mamet for the quality, quantity and variety of their work. Among its peaks, and characteristic of his highly individual ear for American demotic at its most creatively and colourfully obscene, is Glengarry Glen Ross. The title comes from the dubious parcels of real estate in Arizona and Florida that its ruthless characters sell to gullible buyers from a branch office in Chicago.
Mamet wrote the play in 1983 and sent it to his mentor, Harold Pinter, saying he didn’t know how to bring it to a satisfactory end. “It’s perfect, stage it,” Pinter replied, and it was put on in London at the National Theatre with a British cast before having its Broadway premiere the following year, when it received the Pulitzer prize. It took nearly eight years to reach the screen under the direction of James Foley, but by then had attracted one of the best American casts ever assembled: Jack Lemmon, Al Pacino, Alan Arkin and Ed Harris as the salesmen desperately hanging on to their jobs and Kevin Spacey as the chilly branch manager who despises them.
In his screenplay Mamet made only one change to an all-male play that takes place on two sets (the office and a nearby Chinese restaurant) during a special sales drive. But it’s crucial. Early in the first act he introduces a demonic visitor from head office who tells them in the most brutal terms their jobs are in serious jeopardy. In the cast list he’s called Blake, but he tells them “Fuck You – that’s my name!”, and he’s played with an indelibly stunning force by Alec Baldwin.
The characters lie, steal and exploit, deceiving themselves as much as their sad clients. (One of their dupes is Jonathan Pryce, who in the 2007 West End revival was to play the burnt-out salesman Shelley Levene, the role taken by Jack Lemmon in the movie.) They’re dishonest, double-dealing tricksters who invite our sympathy as victims of a merciless, unforgiving system while winning our grudging admiration for the pride and cunning they show in the artistry of their deceptions. It’s an image of a society that Mamet despises and yet finds fascinating, though recent interviews suggest he’s now inclined to view the capitalist system more sympathetically than he did in the 80s.
Glengarry Glen Ross is a 1992 American drama film adapted by David Mamet from his 1984 Pulitzer Prize-winning play. Directed by James Foley, the film is renowned for its razor-sharp dialogue, powerhouse performances, and its bleak, cynical depiction of the American Dream through the lens of high-stakes real estate sales.
First Prize: A Cadillac Eldorado.
Second Prize: A set of steak knives.
Third Prize: You’re fired.
The Iconic Cast
The film is often cited as having one of the greatest ensemble casts in cinema history:
Actor | Character | Role Description |
|---|
Al Pacino | Ricky Roma | The office's "top closer." Smooth, charismatic, and predatory. |
Jack Lemmon | Shelley "The Machine" Levene | A once-great salesman in a tragic, desperate slump. |
Alec Baldwin | Blake | The ruthless executive who delivers the "ABC" speech. |
Ed Harris | Dave Moss | The bitter, aggressive salesman who instigates the heist. |
Alan Arkin | George Aaronow | The timid, insecure salesman constantly worried about his job. |
Kevin Spacey | John Williamson | The cold, corporate office manager who follows rules over empathy. |
Jonathan Pryce | James Lingk | The "mark"—a meek man seduced by Roma’s sales pitch. |
Critical Legacy
Despite being a box office disappointment upon release, the film has achieved massive cult status. Al Pacino received an Academy Award nomination for Best Supporting Actor, and Jack Lemmon's performance is widely regarded as one of the finest of his late career. Today, it is frequently used in business schools and sales training as a cautionary tale of toxic corporate culture.
Play vs. Film: Key Differences
While the film is a very faithful adaptation, Mamet made strategic changes to heighten the cinematic experience:
The Addition of Blake: In the play, the "contest" is mentioned but the character of Blake does not exist. His inclusion provides a face for the "Mitch and Murray" corporate overlords.
Expanded Setting: The play is strictly divided into two locations: a Chinese restaurant and the office. The film adds scenes in the rain, in cars, and at the characters' homes to emphasize their isolation and the oppressive atmosphere of the city.
The Ending: The film provides a slightly more definitive, albeit crushing, resolution to Shelley Levene's arc compared to the more ambiguous ending of the stage version.
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