Oleanna

The tag line of this movie is that "whichever side you take, you're wrong," is itself wrong. There clearly is a wrong and right side. If we were to sit Catherine McKinnon and Andrea Dworkin down and show them only the first half of the movie, even they would be pressed to find any sexual harassment (let alone rape). We would find a self-absorbed professor, and knifing student (whose clipped speech, and apparent dumbfoundedness is belied later when she fabricates, embellishes, and spins the truth for her PC ends). If being self-absorbed is enough to get one fired and falsely accused of rape, then Mamet's lesson must be that the feminist orthodoxy has gone too far.

Student Carol (Debra Eisenstadt) visits Professor John (William H. Macy) to discuss how she failed his course but the discussion takes an awkward turn.

Roger Ebert, who loved the play, was "astonished" to report that Oleanna was not a very good film, characterizing it as awkward and lacking in "fire and passion". He does think the play 9and to some extent the film) makes clear how men and women can see things two different ways. He freely admits he sides with the male point of view while others have argued that the student was in the right.

Overall, I did not really care for the movie. I like Mamet and I love his dense writing, but it seemed to fall flat here. Macy is alright, but the student is annoying. She comes across as either stupid or in some way stunted. The repetition is annoying, too, as how many times must she ask about his house?

Unique, hyper-real film where the dialogue is the main plot - and what a rivetting plot it is. I was very skeptical about Oleanna, and was really resistant to it - but was very surprised to find myself succumbing to it. If you love language, and know enough language, Oleanna will be a joy for you: because the dialogue is loaded with jokes about dialogue. You'll be able to pick the places where Bill Macy is saying non-words, pretentious words or jargons in his monologues - and notice where somebody is talking ambiguously, or not saying anything at all.

Its about words, talking and meaning. So there are lots of words for good reason.

Its very dialoguey dialogue: not the kind of things people say, but the kind of things writers write. Reminiscent of the verbal gymnastics of Samuel Beckett, and the twisting meanings of Catch-22. Or perhaps the comedic pretentiousness of Hal Hartley. Meaning is controlled by the powerful - that's the key. Whoever controls the conversation, the language, in this movie - controls the situation. So everything is either ambiguous or figurative. Mainly, the exact things the two say are not what's key. Its which one of them is talking.

The performances - well, Macy at least - are in an appropriately hyper-real tone to suit the hyper-real dialogue. The girl is not very good, but this is still a masterpiece of language. Its static, centring on two characters and one room, but for good reason - to put the words centre stage. I'm so shocked that i just watched a movie with two characters and one room, and was not only not bored once, but hanging on each word and found that the time flew by.

The moral of the story is that things are bound to go wrong if you talk to somebody for the length of an entire movie. You're bound to go nuts. The viewer is bound to go nuts just listening to William H Macy in the first half-hour of the movie - you'll be amazed that purely talking to someone, using words, can make you feel that you're trapped, that you can't win or even escape.

Quite brilliant, really.

8/10. Essential viewing. I never knew dialogue held this power. A unique discovery.

William H. Macy plays a professor, and Debra Eisenstadt plays a student who needs an A in the class she is taking from him. They argue as to why she should or shouldn't get an A. In the course of their arguing, the student finds cause to charge the professor, who is up for tenure, with sexual harassment and takes her case to the tenure committee.

The movie runs about an hour and a half. It was slow going, but as I was about to flip away from it (watching it on cable), I checked how long it had to go, and it was about half-way through. I figured, oh well, there's still some Canadian Club I need to get rid of, and tomorrow's a holiday, so I stuck with it. And I'm glad I did.

It is not a good movie, and maybe not even a very good play. Mamet's direction is ultra-stagy, even more declamatory than live theater would normally allow for, let alone a movie. For about an hour and a half, the actors hurl complete sentences and big chunks of paragraphs at one another.

Are Mamet and the actors really that insensitive to the conventions of film? Not likely. I think he chose that artificial manner in order to distance the audience from the characters and bring the ideas to the fore–perhaps in the same vein as Bertolt Brecht's notion of "epic theater".

This is not so much a movie or a play as it is a staged philosophical dialogue. It examines the power relationships between man and woman, teacher and student. When the student comes to the professor to reveal the case she has built against him, it shows how words and deeds in one context can be given a whole different thrust and meaning when used to "build a case". Or are they really that different? Perhaps her case focuses and explicates the real underlying relationship of those words and deeds. Those are the kinds of questions Mamet raises, and I think it is a masterful exploration.

But is it a movie? Well, it is certainly dramatic, if stilted, and the dénoument is devastating. It may not be a good movie, but Mamet knew exactly what he was doing, and I'd watch it again.

This is a movie not without faults -- the dialog at the beginning is stilted, William H. Macy's performance is not without its weak spots -- but in spite of those quibbles, is a compelling, intriguing film.

The movie centers on the relationship between a student and a professor at an unnamed university. She goes to him for extra help in his class (but she may be just trying to set him up for a sexual harrassment lawsuit). He tries to help her with her studies (but may be trying to dominate and have innappropriate relations with her at the same time). As the relationship turns into a struggle, the viewer finds him/herself switching sides early and often. The tension in the film becomes the viewer's tension; during the final scenes you'll barely breathe.

The tagline is right -- whatever side you choose, you're wrong. I've seen this movie lambasted as being anti-feminist, lauded for being pro-feminist, hated for being anti-establishment, pro-establishment, racist, sexist, etc. In reality, it is all and none of these things. Oleanna is a mirror that forces us to examine and discuss our own convictions. That it accomplishes this while still being an exciting film makes it worth seeing more than once.