Parrain d'un jour

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!

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

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.

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.

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.