Robert Altman’s brilliant 1992 return to form The Player gets all the ink when it
comes to Hollywood satire. It is a fantastic piece of work – suspenseful and
darkly comic. But re-watching State and
Main, David Mamet’s comedy about a Hollywood production that tears apart a
small New England town, I realized this has to be ranked as one of the great
satirical films. What makes it more remarkable is that Mamet was primarily
known for his thrillers, set up as complex confidence games. Although it was
not nearly as much a departure as his 1999 film The Winslow Boy, a G-rated period piece family drama about a boy
accused of theft at his school. State and
Main is as biting and funny as his great screenplay for Wag the Dog, a satire of the political
process.
Mamet seems to have a way of presaging calamitous
national events as when the plot of Wag
the Dog closely mimicked the Monica Lewinsky scandal before the story even
broke. Similarly, a well-placed and offhand remark about the absurdity of the
electoral process gained a whole new resonance shortly after its Toronto Film
Festival premiere when the great Bush/Gore debacle began in Florida. That kind
of serendipity is like catching lightning in a bottle once and he did it twice!
The first time I saw State
and Main I didn’t quite catch just how pointed the satire is. I thought it
was incredibly funny, but it didn’t occur to me that Mamet was attempting
something bigger. Now older and perhaps a bit more cynical I wonder if the
phoniness of the relationships and the transparently insincere affection and
appeasement between cast and crew (generally the most appeasement is directed
at the cast) found its beginnings in what Mamet himself witnessed throughout
his career up to that point.
Mamet worked as a screenwriter for hire on several big
Hollywood films before directing his own first feature. It should come as no
surprise that the closest thing to a protagonist in State and Main and the only honorable person in the production is
the writer, Joseph Turner White (Philip Seymour Hoffman). He keeps telling
people that his screenplay is about the quest for purity. And he finds it in
Annie, the owner of the town bookstore and leader of the local drama club.
Annie, in all her hokey small town innocence is played by none other than Mamet’s
wife Rebecca Pidgeon. But she’s engaged to Doug (Clark Gregg), an upstart
politician dead set on milking the movie production for as much money as
possible. William H. Macy is Walt Price, the film’s director, whose job very
often involves being the mediator between the unsparing producer (David Paymer)
and Claire Wellesley, the leading lady played by Sarah Jessica Parker with the
kind of pep and vigor you would expect from a Hollywood starlet trying
desperately to maintain her image. Alec Baldwin is her costar Bob Barrenger, a
big time movie star on the level of someone like Alec Baldwin.
Rounding out the cast of recognizable faces is Julia
Stiles as a teenager who gets in over her head with Barrenger, a man with a
penchant for getting into trouble with underage girls (a fact that is tossed
around like a joke amongst the crew without even a hint of irony), and Ricky
Jay as her unsuspecting father. Finally Charles Durning is the mayor and Patti
LuPone his wife, eager to please what she sees as West Coast sophisticates by
dressing up her home and guests as if it were the middle of the 19th
century.
Everyone on the production needs coddling: Bob gets three
adjoining rooms in the town’s hotel and Claire arrives to a room decked out
with lilacs, her favorite flower. Disgruntled crew members are placated with “an
associate producer credit,” which one character informs is what you give your
secretary instead of a raise. Walt has a little pillow he can’t shoot without.
The cinematographer, an Italian artiste,
insists he can’t get the opening shot he needs without altering the firehouse.
Even Joseph needs his manual typewriter to get cracking on the rewrites that
are necessary due to the town’s lack of an old mill. This is only a minor
inconvenience to Walt even though it’s a movie called “The Old Mill.”
Mamet’s screenplay is rife with wonderfully genius little
one-liners. At times it feels like a hodgepodge designed to air many of his
grievances with his chosen profession, but that doesn’t keep it from being a
riot. And of course the dialogue bears the tell-tale rhythms of Mamet-speak,
that enviable and inimitable style utilizing such precision of language that
every punctuation mark is deliberate and his actors must know that and include
it in their performances.
The central romance between Joe and Annie gives it some
heart and keeps the movie from becoming a dull list of gripes and complaints
about Hollywood phonies. But there’s no denying that he intended to depict the
screenwriter as a put-upon nobody and the least valued person on set even while
the bosses pay lip service to his words being the most important thing. Even
Claire can’t help heaping bogus praise on the beautiful speech he’s written.
Mamet is an equal opportunity offender, however, as not
even the townspeople escape unscathed. Though they are depicted as aspiring to
high morals and clean living, they are also sycophants, reveling in the
presence of perceived greatness. The hotel manager stammers at the prospect of
having a real live movie star in his place of business, and ushers the adoring
children away just to stand next to Bob Barrenger. Annie’s drama club falls to
pieces when her cast decides to try for parts as extras in the more illustrious
Hollywood drama. Doug appears to be the only one immune to the beguiling ways
of the production crew, but even he, like most people, eventually succumbs to
the allure of the lifestyles of the rich and famous.
As the last line of the film, spoken by Baldwin, tells us,
“It beats working.” Indeed it does. I’m not sure Mamet agrees with that
sentiment, but I don’t think any character in State and Main would disagree.
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