Following the theft of a postal-order, a fourteen-year old cadet is expelled from Naval College. To save the honour of the boy and his family, the pre-eminent barrister of the day is engaged to take on the might the Admiralty.
A fateful event leads to a job in the film business for top mixed-martial arts instructor Mike Terry. Though he refuses to participate in prize bouts, circumstances conspire to force him to consider entering such a competition.
Mike Max is a Hollywood producer who became powerful and rich thanks to brutal and bloody action films. His ignored wife Paige is close to leaving him. Suddenly Mike is kidnapped by two ... See full summary »
A two character movie, involving a college professor, John, who is confronted by a female student, Carol, who is failing his course. The two spend a long time talking to each other, during which time John says a few things that can be taken the wrong way. After the night the two spent talking, John is slapped with a sexual harassment accusation by Carol. After more accusations from Carol, John's career as a teacher begins to fall apart. This forces John with a choice on how to handle the situation, and the results make up for a shattering ending to the movie.Written by
Justin Sharp <email@example.com>
When the professor says "Oh, my God." near the end of the movie right after striking his student and shortly before sitting down, for a short time the microphone hanging from the roof is visible at the top right corner of the screen. See more »
Get out of my office!
[Carol doesn't leave]
Get out! Get the fuck out of my office!
I'm leaving. And don't call your wife "Baby"!
See more »
The "school song" (written by Mamet) played during the credits is sung by Mamet's wife, Rebecca Pidgeon who first performed the role of Carol on stage. See more »
There is a version of the movie circulating in Australia, in a series of videos along with other David Mamet films including "A Life in the Theater". This particular copy of the film is timecoded. In that version, after Carol tells John not to call his wife "baby," (thus sending him into a torrent of rage), and he slaps her arm and grabs her, screaming a sexual expletive and raising a chair above her head, the door to the hallway swings open and a number of people stand in the hallway, observing the fight and thus hopelessly damning John. In the version now appearing on The Sundance Channel (10/05), the expletive is unchanged but he never lifts the chair and the door never opens; aside from a final exterior shot of the school, the film ends with Carol (Eisenstadt) having collapsed on the floor of John's office, and John sitting in his chair, his head buried in his hands. See more »
I saw what this play illustrates in college in the early 1990s. Carol keeps referring to "my group." We can assume it's a militant feminist student organization, but it could one of many antagonistic outfits steeped in identity politics. These groups always claimed they wanted justice and equality. I participated in several such groups and I quickly observed they care for neither equality nor justice; what they wanted was deference, authority, and often revenge. John tells Carol several times he thinks she is angry. He is correct, of course. What John does not realize from the moment Carol sets foot in his office is he's a dead man. He is her prey. Carol is a type of student I knew well. She is quite intelligent. She is, however, confused and angry. On top of that, she suffers from depression, which diminishes her cognitive abilities. In self-righteous sociopolitical outrage, her "group" has given her a scapegoat--the white male establishment. Her "group" has also given her a deluded purpose--tear down the white male establishment. Much of what some commentators here attribute to John's "stilted" nature is actually Mamet's writing style. However, John is indeed stilted. He is a nerdy college professor. I met many of them too. He lives in his ideas. He pursues ever more clever theories about life and learning. Ironically, he is a bit hazy on what's going on in the here and now. He cannot read Carol's rage and this is his Achilles heel. Carol did not start out as a "bad" person. She started out as a "sad" person. I don't remember the exact quote, but John tells her: The Stoic philosophers say if you take away the statement "I have been injured" you take away the injury. Something like that. Carol's "group" has done quite the opposite. It has goaded her to build her entire life around being injured and being a victim. This is the bread-and-butter of "identity politics." By the time Carol enters John's office she has been trained to kill careers the way the drill sergeant's charges have been trained to kill enemy soldiers in "Full Metal Jacket." "Oleanna" is a tragedy about the consequences of misguided anger. The term "politically correct" is now no more than a term of abuse bandied about by right-wing half-wits; however, I remember the year 1990 and the pins leftie militants sported: "PC and Proud." I saw a lot of people get hurt by political correctness but two things I never saw PC give anybody: 1. Real empowerment. 2. Happiness. David Mamet nails the essence of PC in "Oleanna."
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