Oleanna

The tag line of this movie is that "whichever side you take, you're wrong," is itself wrong. There clearly is a wrong and right side. If we were to sit Catherine McKinnon and Andrea Dworkin down and show them only the first half of the movie, even they would be pressed to find any sexual harassment (let alone rape). We would find a self-absorbed professor, and knifing student (whose clipped speech, and apparent dumbfoundedness is belied later when she fabricates, embellishes, and spins the truth for her PC ends). If being self-absorbed is enough to get one fired and falsely accused of rape, then Mamet's lesson must be that the feminist orthodoxy has gone too far.

William H. Macy plays a professor, and Debra Eisenstadt plays a student who needs an A in the class she is taking from him. They argue as to why she should or shouldn't get an A. In the course of their arguing, the student finds cause to charge the professor, who is up for tenure, with sexual harassment and takes her case to the tenure committee.

The movie runs about an hour and a half. It was slow going, but as I was about to flip away from it (watching it on cable), I checked how long it had to go, and it was about half-way through. I figured, oh well, there's still some Canadian Club I need to get rid of, and tomorrow's a holiday, so I stuck with it. And I'm glad I did.

It is not a good movie, and maybe not even a very good play. Mamet's direction is ultra-stagy, even more declamatory than live theater would normally allow for, let alone a movie. For about an hour and a half, the actors hurl complete sentences and big chunks of paragraphs at one another.

Are Mamet and the actors really that insensitive to the conventions of film? Not likely. I think he chose that artificial manner in order to distance the audience from the characters and bring the ideas to the fore–perhaps in the same vein as Bertolt Brecht's notion of "epic theater".

This is not so much a movie or a play as it is a staged philosophical dialogue. It examines the power relationships between man and woman, teacher and student. When the student comes to the professor to reveal the case she has built against him, it shows how words and deeds in one context can be given a whole different thrust and meaning when used to "build a case". Or are they really that different? Perhaps her case focuses and explicates the real underlying relationship of those words and deeds. Those are the kinds of questions Mamet raises, and I think it is a masterful exploration.

But is it a movie? Well, it is certainly dramatic, if stilted, and the dénoument is devastating. It may not be a good movie, but Mamet knew exactly what he was doing, and I'd watch it again.

The dialogue is difficult to get past -- you want to grab the characters one at a time by the throat so the other one can at least finish a sentence or thought without interruption. But if you stick with it, the characters do deliver on what had to be a difficult script. And I found the irony of the story line to be the reward. It is a mind game -- not for the casual viewer.

One general misunderstanding (in my opinion) of Mamet is that he tries to write realistic dialog. In Oleanna, Mamet seems to want to speak directly through each character in a very academic verse which is well suited to the film/play. The issues of sexual misconduct and the way perspectives differ between men and women make this an interesting journey. And if you are a Bill Macy fan, you will like the movie.

This film is basically about a student who cannot accept she's failing class and decides to ruin her teacher's life by framing him. Around this basis, a quite witty dialogue is unfolded, which makes the movie intellectually stimulating and powerful. Additionally, it depicts the invalidity of some axioms of both professor and student community and portraits how people manipulate the truth to serve their personal interests. A very strong point is how pompous and cliche arguments about void pseudo-liberties alienate people from truly disastrous and desperate situations. As I see from other reviews, the play was much better, but unfortunately we didn't have the chance to see it here in Greece yet, so my first impression of Mamet's work was from this movie.