Le cose cambiano

An elderly man who makes money shining shoes has been summoned to a meeting with a mob boss. It seems that the elderly guy (Don Ameche) bears a close resemblance to a mobster being held for murder. So, they want the old guy to take the rap...and they, in turn, will pay him well for the time he spends in prison for the killing he actually didn't commit. Gino agrees to the arrangement...and as a way of rewarding him, one of the lower level mobsters, Jerry (Joe Montegna), takes him for a great weekend in Reno...after which Gino is supposed to turn himself in to the law for the murder.

When the pair arrive in Reno, they are mistaken for VERY big fish. Suddenly, the resort casino offers them the best room, the best service....anything they want. It's obvious they have mistaken the pair for some other folks...well-placed mobsters who must be treated with the best of care.

The day after their arrival, two messengers of a local mobster arrive. They want Gino and Jerry to accompany them for a meeting with their boss, Don Giuseppe. Despite Gino being a simple man, he and Giuseppe (Robert Prosky) hit it off very well...and soon Gino is asked to stay for a meeting with the boss' friends....who are all VERY high-ranking mobsters from across the country. Gino agrees...but Jerry is losing his mind at this point! He just wants to end their weekend and go home. What's next? See the film.

The best thing about this film is Don Ameche's gentle and understated performance. It's really lovely to watch...especially if you are a fan of classic Hollywood, as he was quite the matinee idol in the 1930s-40s. It also didn't hurt that the film was written by David Mamet AND, Shel Silverstein, of all people! Overall, a very nice slice of life film...one that is pleasant and sweet.

A comedy by David Mamet - it seems like a contradiction in terms... This sparkling film bristles with life. There is absolutely nothing in common with other dialog-oriented films by writer-directors that quickly become talkathons. This film presents its "message" from the beginning and its pace doesn't let up until the end. It's funny all right - not explosive, rolling-on-the-floor humor but humor of a much gentler kind - and everything is wonderfully written and realized. If I had to use a word to describe it, "balletic" comes to mind. The timing and the movements are in perfect synchronization. What a delightful surprise!

Curtis Stotlar

Shoe-shiner Gino (Don Ameche) is hired to take the rap for a mafia murder. Two-bit gangster Jerry (Joe Mantegna) watches over Gino and gives him a weekend to remember.

"Things Change" was Mamet's directorial follow-up to "House of Games" and also takes place in the world of crime. The two films share many cast members, including Joe Mantegna, Ricky Jay, Mike Nussbaum, William H. Macy, and J. T. Walsh, as well as many production staff members. I love how Mamet seems to have his own "stock company" with Mantegna, Jay and Macy. There is something about an ensemble working together again and again that I enjoy.

This film was great and I appreciate that Mamet went more towards comedy. I love his dense language, but sometimes a little humor is good. And mob humor? The best. I have only recently come to appreciate Don Ameche, and this has to be one of his better, later roles.

Mamet is not an unalloyed mastermind in my book. He hits and misses.

Here, he (and Shel Silverstein) crafted a story that explores a few clever plot concepts, such as the vaguely "Inspector General"-style false-identity gimmick. No spoiler, there: It kicks in pretty early on and dominates things for most of the flick. Most of the comedy/tension of the flick revolves about that idea.

The truly touching stuff involves the ensemble work, and it's worth taking the flick in of an evening just for that.

Other than that, the structure/storyline of the flick is about 80% good, but about 20% sprinkled with confusing side-events that don't quite seem to mesh.

Mamet and Silverstein tried to engineer a truly compelling denouement, but it doesn't feel quite whole and organic and... compelling, to me. It's merely adequate, in my book.

But if you want to see truly inspired acting, driven by adequate direction, check it out.

Obviously, by my rating, you know I love this film. It is a desert island disc.

I read the other reviews and have some comments. These are not criticisms of others criticisms or accolades, just my own thoughts after having seen the movie so many times.

Having never been in the mafia myself (and I suspect that none of the other people rating this movie have been either), I find this work consistent with our cinematic understanding of the mafia. First of all, if the mafia does ask you for a favor which it thinks is fair sounding and you decline, depending upon the favor asked, security may demand that you be silenced (killed). Secondly, our cinematic understanding of the mafia also says that very few people, even in the mafia, truly know who, as it is put in the movie 'the man behind the man behind the man' might be. So, when the hotel staff and low level mafia flunkies (hooray for the blond WHM!) at the other end of the country, who are expecting to meet people they don't know, accept DA as someone very important, this is realistic. And with such a classic mafia stereotype as JM's character as front man, DA as shoe shine turned mafioso really sells. After all, DA is Italian and distinguished looking... as well as very old school. As for DA's new mafia friend, it is quite clear in the movie that the luck and skill of DA's character actually traversed some very high barriers to survive and flourish in the situation.

While the premise of the circumstance of the ending may be predictable (I don't want to give it away), the actual final actions and outcome are definitely not expected.

As for comparison to Mamet's other works, stage and screen, perhaps this isn't his "best." But in terms of appeal, it reaches many more people than most of his work... and in such a pleasing way without being daft. Entertainment and emotional appeal are not vices, even for Mamet.

And just because a movie makes you smile and laugh, that doesn't make it a comedy... merely comedic. This is a dark drama, a human study, and features friendship and betrayal. Perhaps the comedic and light-hearted aspects are merely the glue that holds this piece so well together. The glue may be on the surface, but that doesn't mean it doesn't function here. Frankly, I absolutely love House of Games, but a little more comedic treatment might have even improved that masterpiece. One can like Mamet and like smiling as well.