Parrain d'un jour

Mamet is intrinsically the classical playwright. Things may change in life but the classical playwright begins the story with a shoe shine setting up his corner in the cobbler's shop and ends the story with a shoe shine. Even the mid-point of the film, when the 3 day dream is about to end, there is the short lecture on how to shine shoes.

Though all the actors provide commendable performances, the flow of the story is absorbing. There is a layer of human values and honesty that permeates the world of murders and mafia thugs. Mamet is able to use such contradictions to great effect--threats stated with considerable politeness, women who are apparently in charge (the woman overseeing the arrangements for the meal at the house, the mafia wife/moll in blue) and yet play no significant role, teasing the viewer as it were, use of hats and newspapers to cover faces that seem ridiculous as the story unfolds..

The epilogue makes you wonder if things do change. Change for one may not be change for another. Change for one may come in economic terms, for another in friendship.

Early Mamet's work seems to neglect women characters. I wonder why this is so evident.

Don Ameche plays a wonderful portrayal of an Italian Shoe repair man thrown into a world of mobsters. Somehow this has very little effect on his spirit or mood, and at the same time driving his caretaker(Joe Mantegna)absolutely insane. By the end of it's whirlwind tour you realize that the old man is very wise in taking it all in stride.It's especially good if you are a fan of Mafia movies like The Godfather and such because it shows a lot of really typical mob types to keep you interested.

This movie is a very laid back comedy that would entertain people from many different walks of life. I just told someone the other day that it's the best movie I know of that no one has heard of. If you get a chance see it!

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.

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

While I am not a huge fan of David Mamet I liked most of the movies he directed that I saw and since he directed often one of my favourite actors, I knew that I had to see THINGS CHANGE.

Gino (Don Ameche) is an old Chicago shoe-shiner that one day is approached by mob boss Don Green for taking the blame for a murder committed by another gangster. Gino agrees on the condition that he can have a fishing boat with the money he'll receive after a three year sentence. While preparing for the confession Gino is approached by Jerry (Joe Mantegna), a gangster in trouble because he failed to execute orders properly, and they spend a week of thinking in lake Tahoe. At the casino, Gino is mistaken for a powerful mafia boss by a Sicilian who happened to be there and they are mistaken for vips. After the confession fails Gino risks his death but will be saved by Jerry who then joins him in his shoe-shine store.

The plot looked a bit confusing (and it took me long for understanding it) but the acting was good by all (including Mamet's frequent co-stars) and there were some funny moments. Not exactly a masterpiece but still a decent time passer if you are stuck at home.