OLEANNA
A film review by Raymond Johnston
Copyright 1994 Raymond Johnston
Written and directed by David Mamet Starring William H. Macy and Debra Eisenstadt
In one of his books on how to write, David Mamet says to enter scenes late and leave them early. That seems to be the guiding principle of his new film, OLEANNA. At best it seems to be sections of a story, lacking a beginning act. It would be easy to dismiss this project as a one-set two-person avant garde play that underwent an unsuccessful canning process. As a work of cinema, it is uncinematic. Even as a play, the delivery of the lines is flat and emotionless. Once the viewer leaves behind his notions of what a film or play should be, however, the film becomes a challenging experience.
OLEANNA is Mamet's most unconventional work for the screen. His trademark street language has been replaced by an at first annoying semantic game. This game is a metaphor for the academic process. The meaning of words and groups of words in and out of context are questioned and requestioned by the two actors. Replacing his freehand use of the f-word in films like HOMICIDE is the constant use of "what does that mean?" With a lot of academic sounding words it seems nothing is said, or even happens. For an extended excruciating opening act, the two characters, a professor and a failing student seem to miscommunicate completely. The subject of the class isn't even clearly defined. This scene is the key incident of the film. What happened in the non-event becomes the basis for minute discussion in the following scenes.
It is here that the flatness of the acting is brilliant. The audience can hear the words, but must find their own meaning for them. The two characters are such blanks, with no developed past, that whole personalities must be projected onto them. Outside factors like unseen student and academic groups must be completely imagined. This leaves the bare elements of the story open to various interpretations, so much so that each viewer practically sees a different film.
Mamet's project was to create a play, now a film, about sexual harassment in the academic setting. He wanted to raise questions but not give answers. It is impossible to leave this film without thinking that one of the characters was greatly wronged, but the choice of which one is up to the individual viewer.
The film has various flaws to be sure. The student seems to increase greatly in both intellect and self confidence from one scene to the next, although a viewer could invent various reasons for this. The professor, an intelligent man, seems to miss several crucial phrases of dialogue. In this manner the characters miss out on being real people and instead become didactic homunculi for academic patriarchy and feminist political correctness.
Perhaps the subject is more immediate and successful as a play. Nonetheless the film is, if not enjoyable, at least provocative. It is a welcome tonic to the multi-million dollar escapist films that have recently had so little to say.
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