Edmond (2006) Movie Review

Stuart Gordon, best known for his horror outings, which have included the classic H.P. Lovecraft adaptations “Re-Animator” and “From Beyond”, may seem like an odd choice for bringing a play by the renowned David Mamet to the screen. However, with “Edmond”, now available on DVD through Tartan, he shows himself to have a talent not only for supernatural gore, but also for dark, gritty human drama.

Actually, this should perhaps not be too surprising, as the film marks the second collaboration between Gordon and Mamet, who previously worked together on the stage production of “Sexual Perversity in Chicago”. Certainly, the film manages to cover a lot of common ground for the two, being a confrontational look at the fear and anger lurking within the heart of modern man, played out in appropriately visceral and violent fashion.

The plot follows acclaimed actor William H. Macey (best known for his roles in the likes of “Fargo” and “Magnolia”) as the titular Edmond, a white-collar businessman who on the surface at least leads an ideal and enviable life. However, after a fortune-teller warns him that ‘you are not where you belong’ he wakes up to the fact that he is very much a prisoner of his own fears, trapped in a loveless marriage and working himself ever closer to the grave. Wandering the downtown streets, a series of random encounters with pimps, prostitutes and muggers push him over the edge and into bloody violence. Although this initially seems to set him free, it becomes rapidly clear that Edmond’s voyage of self-discovery is quite likely a one-way ticket to his own personal hell.

It’s fair to say that viewers expecting something along the lines of any of Gordon’s previous films are likely to be disappointed, as “Edmond” is pure Mamet, a challenging, character study that focuses upon a deeply flawed and unlikeable protagonist. Although a little obtuse, on an intellectual level, the film certainly succeeds, being both provocative and thoughtful, asking a number of difficult questions without providing any easy answers.

However, perhaps as a result, the character of Edmond himself feels more like a cipher or symbol than an actual human being, and as such the viewer never cares for him in the least, being kept at a definite emotional distance. Of course, this is to an extent the point of the piece, and the film, like the play, is clearly designed to make the viewer uncomfortable with the harsh light it shines upon the darker areas of the modern male psyche.

Well acted and gripping, probably the main criticism of “Edmond” is that it is quite obviously an adaptation of a play, and one which does not make many concessions to the cinematic form. This is most apparent in the script, which at times feels like the reeling off of a long list of Mamet-isms, none of which sound particularly like things which people would actually say in real life.

Similarly, Gordon’s direction is quite basic and tightly controlled throughout, with little of his usual inventiveness or flair, though to be fair this does suit the material and helps to keep things grounded. The film is appropriately nasty and bloody at times, and does feature a number of sleazy scenes, all of which should help to keep viewers interested, not least due to the fact that actresses Denise Richards, Mena Suvari, Julia Stiles and Bai Ling all appear in varying states of undress.

However, viewers should be prepared for the fact that the film is first and foremost an intellectual exercise and one which aims for the mind rather than the stomach. Nestling somewhere between “Taxi Driver” and “American Psycho”, it stands as a must see for all fans of Mamet’s work and should be enjoyed by anyone looking for a slice of searching, cerebral drama.

Stuart Gordon (director) / David Mamet (screenplay)
CAST: William H. Macy … Edmond
Frances Bay … Fortune Teller
Rebecca Pidgeon … Wife
Joe Mantegna … Man in Bar
Denise Richards … B-Girl