For better or for worse, Glengarry Glen Ross is very pointedly set in a world of men. I believe only one woman so much as appears in the background of one scene. It’s no accident, oversight, or deliberate act of Hollywood misogyny to banish women from this 24-hour slice of the lives of five bottom-rung salesmen.
Glengarry Glen Ross is full of grand, showboating performances from a dream cast of male master actors Al Pacino, Jack Lemmon, Alec Baldwin, Alan Arkin, Ed Harris, Kevin Spacey, and Jonathan Pryce. Baldwin very nearly steals the entire movie with a hilariously aggressive motivational monologue: “What’s my name? ‘Fuck you,’ that’s my name.” It’s all the more extraordinary that Pryce, sometimes guilty of outrageously affected accents and scenery-consumption, masterfully underplays his part as a shy, passive man who can barely speak, let alone assert himself against predator Ricky Roma (Pacino).
All together now: “What’s my name? …”
The screenplay by David Mamet, expanded from his own stage play, set a high standard for gloriously poetic profanity not to be surpassed until David Milch’s series Deadwood. Famous for his naturalistic dialog (every “um,” “uh,” and stutter is right there on the page; there is no improvisation), Mamet is also a meticulous craftsman of mystery and suspense. But there is one plot detail that trips me up on each viewing: the morning after the sales office is robbed, Shelley Levene (Lemmon) brags about having pulled off an impressive sale of eight units of sketchy property. Roma’s ears prick up at his mention of the signing having been just that morning, obviously sensing something fishy about Levene’s claim. But the time of closure is not inconsistent with Levene’s story, nor is there any reason to suspect that Levene, whatever else he may be guilty of, falsified this particular sale in any way. Roma may simply be surprised that the lately taciturn and ineffectual salesman Levene could not have pulled off such a feat at such an unlikely time unless his spirits were buoyed somehow. Still, Roma demonstrates perhaps the film’s only act of kindness by being the only one to give the old master one last chance to swap victorious war stories.
Shelley “The Machine” Levene wants to make a deal
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