The real story behind the world of sales. This is a realistic portrayal of what it is to try making a life in high pressure sales with all its highs and lows; promises of fortunes and deliveries of dross. Red-leads and dead-leads are to blame for life's outcomes. Living with "Objection, Rebuttal, Close" and fake automobiles from the mobbed-up corporate owners. Written by
Originally, director Irvin Kershner wanted to turn the play into a film in 1985, and he persuaded his friend, producer Jerry Tokofsky, to read it. Tokofsky loved it, and contacted his associate Stanley R. Zupnik with a view to making a movie of the play with Kershner directing and Tokofsky and Zupnik producing. Kershner ultimately left the project in 1989 after becoming disillusioned with the lack of progress, but Tokofsky and Zupnik remained on-board. See more »
When Ricky is trying to get more information from Williamson about the robbery, Williamson's room door is open and the detective is in the room, close to it. After a while Ricky and Williamson walk close the same door and not only it is closed but the detective is no longer there. After one small cut to Ricky, Williamson is about to enter his room, and the door is open again and the detective is standing there, this time outside of the room, blocking the door. See more »
We're adding a little something to this month's sales contest. As you all know, first prize is a Cadillac Eldorado. Anybody want to see second prize?
[Holds up prize]
Second prize is a set of steak knives. Third prize is you're fired.
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I love movies like this. Theatre-styled motion pictures driven by dialog versus action. Get a few guys together in a room, watch them talk -- I have a soft spot for this stuff. I have ever since I can remember. Some of my favorite films are character-driven ones: "The Hustler," "The Big Kahuna," "Midnight Run," "Planes, Trains & Automobiles." At first glance this list seems skeptical -- but basically all these films follow the same central theme: clever dialog, character interaction and evolution, and depth.
"Glengarry Glen Ross" is one of the best of the genre. Scripted by David Mamet, the dialog never hits and weak patches -- it is realistic, extremely fun to listen to, and the actors all deliver flawless performances.
Al Pacino finally finds the perfect role to let himself vent (as he started to do in "Scent of a Woman" the same year, and won an Oscar for -- he deserved it more for this). Pacino has some great one-liners and quips, but he never seems too broad to find believable.
Jack Lemmon is similarly impressive, in what he called one of his favorite films of his entire career. Lemmon abandoned his comedic roots for this drama and it paid off -- he's not only an excellent funnyman, but a great actor.
Kevin Spacey, Ed Harris, and Alec Baldwin fill out the rest of the cast and all do very well; especially Baldwin in a brief cameo. I've never had much consideration for Baldwin as an actor, but his five minutes' worth of screen time here reminded me that when he's good, he really IS good! Overall "Glengarry Glen Ross" is not only one of my favorite films of the genre but also a solid movie by any means. If you aren't bored by movies in which people talk instead of running around defusing bombs, you'll probably really get a kick out of this.
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