Pulitzer Prize winner David Mamet ranks among the century's most influential writers for stage and screen. His dialogue--abrasive, rhythmic--illuminates a modern aesthetic evocative of Samuel Beckett. His plots--surprising, comic, topical--have evoked comparisons to masters from Alfred Hitchcock to Arthur Miller. Here are two screenplays demonstrating the astounding range of Mamet's talents.
The Spanish Prisoner, a neo-noir thriller about a research-and-development cog hoodwinked out of his own brilliant discovery, demonstrates Mamet's incomparable use of character in a dizzying tale of twists and mistaken identity. The Winslow Boy, Mamet's revisitation of Terence Rattigan's classic 1946 play, tells of a thirteen-year-old boy accused of stealing a five-shilling postal order and the tug of war for truth that ensues between his middle-class family and the Royal Navy. Crackling with wit, intelligent and surprising, The Spanish Prisoner and The Winslow Boy celebrate Mamet's unique genius and our eternal fascination with the extraordinary predicaments of the common man.
About David Mamet
DAVID MAMET is an Academy Award-nominated screenwriter and a Pulitzer Prize-winning playwright as well as a director, novelist, poet, and essayist. He has written the screenplays for more than twenty films, including Heist, Spartan, House of Games, The Spanish Prisoner, The Winslow Boy, Wag the Dog, and the Oscar-nominated The Verdict. His more than twenty plays include Oleanna, The Cryptogram, Speed-the-Plow, American Buffalo, Sexual Perversity in Chicago, and the Pulitzer Prizewinning Glengarry Glen Ross. Born in Chicago in 1947, Mamet has taught at the Yale School of Drama, New York University, and Goddard College, and he lectures at the Atlantic Theater Company, of which he is a founding member. He lives in Santa Monica, California.
THE SPANISH PRISONER
"Elegant, entertaining. . . . Mamet's craftiest and most satisfying cinematic puzzle." --The New York Times
THE WINSLOW BOY
"One of the most subtly compelling love stories of the year." --The New York Observer