David Mamet

'Top of the Lake' is an Engaging Misstep
April 01, 2013

Why Jane Campion's turn to television isn't a complete success, while David Mamet's was.

Coffee Is For Epistemic Closers
June 20, 2011

Christopher Hitchens deftly skewers David Mamet, the playwright who has converted to the Republican Party with the fervency of, well a convert: This is an extraordinarily irritating book, written by one of those people who smugly believe that, having lost their faith, they must ipso facto have found their reason. In order to be persuaded by it, you would have to be open to propositions like this: “Part of the left’s savage animus against Sarah Palin is attributable to her status not as a woman, neither as a Conservative, but as a Worker.” Or this: “America is a Christian country.

House Of Games
May 16, 2011

The conservative accounting of Hollywood types who express their political views comes in two forms. The first form -- the dominant type -- is when a Hollywood liberal pipes up about politics, and the reaction inevitably involves sneering at the idea anybody should care about what some Hollywood liberal thinks. The second form occurs when a Hollywood conservative speaks his mind, and it invariably entails rapturous, fawning gratitude at the emergence of a brave voice in the wilderness. Andrew Ferguson's lengthy profile of David Mamet in the Weekly Standard falls into the second category.

Washington Diarist
August 26, 2009

On August 4, Haaretz reported that Benjamin Netanyahu called Rahm Emanuel and David Axelrod self-hating Jews. A spokesman for the prime minister later denied this, but I have heard from Israeli friends that this conspiratorial explanation is quite popular in the prime minister’s office. I have no reason to believe otherwise. The accusation of ethnic infidelity is an old feature of the political culture of the Likud. The defenders of Greater Israel have values, but the critics of Greater Israel have motives.

Jeremy Piven, Thermometer
December 18, 2008

Vulture shares the show-business dis of the week, courtesy of none other than playwright David Mamet: While omens of the forthcoming Broadwaypocalypse have been dragging us down for months, the recent revival of David Mamet's Speed-the-Plow was the one play that seemingly had everything going for it: some strong reviews, a healthy marketing budget (we always see commercials for the show during SNL), an endorsement from David Mamet (something he failed to give American Buffalo), and a cast of accomplished actors.

Prosecution Plays
May 23, 2005

DOUBT (Walter Kerr Theatre) ROMANCE (Atlantic Theater Company) THE LAST DAYS OF JUDAS ISCARIOT (LAByrinth Theater) THE PILLOWMAN (Booth Theater) THOM PAIN (BASED ON NOTHING) (DR2 Theatre) THE LIGHT IN THE PIAZZA (Vivian Beaumont Theater) Contrary to received opinion, the American theater is currently hosting as many good playwrights, and as many strong plays, as ever before. Although virtually none of these dramas originates on Broadway, a handful eventually enter the mainstream through the channels of resident, Off-Broadway, and London theaters. What follows is a brief roundup of six new work

TNR Film Classic: 'The Verdict' (1982)
December 20, 1982

The Verdict Twentieth-Century Fox Blessed be pluralism. Just when you’re feeling depressed by the gargantuan success of An Officer and a Gentleman, not because it’s a wretched picture but because it’s a throwback to a pre-Vietnam social perspective that glorifies military sentimentalities—pygmy John Fordism—along comes a picture out of a contrasting social perspective, the Common Man syndrome: Frank Capra with updated language and sexual frankness.