In Mamet's mind, there must be fond association with the word "Spartan", for his taste in dialogues and acting does have a Draconian quality to it.

Watching this movie a second time, I find myself in a more leisured pace, which is hard to do for a Mamet film the first time around: the conversation tends to be less than direct, loaded with slangs, inner-ring references, and surprising analogies or similes that you are not sure if you get them right ("What? 'Ants pissing on cotton'---is that right?"). There is no courtesy from the director to take your hands and show you around the plot development; Mamet is reserved with info to share with the audience, and you are expected to be surprised side by side with the characters---this is one director whose plot is pretty hard to second guess. But you ARE thrown bits and pieces of the jigsaw that you are supposed to piece together. You are invited to a puzzle.

Now that I am more leisured, I have time to summarize what I like about Mamet's movies. Here are a few thoughts:

- There is always an elegiac quality to Mamet's movie, underscored by soundtrack. But there's no clear reference to any bygone time and place, as in Westerns. Here is nostalgia without a home. The film is suffused with a controlled pessimism, emotional isolation, out of cynicism and distrust, and, most remarkably, a curious desolation of spirit. Some may call it paranoid, but it is more complex and layered than one man's paranoid. It is uniquely Mamet-ian.

- Mamet's dialogues have a distinct, deliberate cadence, with which all actors and actresses need to comply, including greats like Hackman. Very reassuring, and promising in an old-friend sort of way, telling you that inspite of the strange landscape, you are in familiar country. However, they do tend to sound less brilliant when you watch the movie a second time.

- Related are the chewy, quizzical lines that I always relish, sentences like: "You wanted to go through the looking glass." OR: "I saw the Sign." --- "Then you are truly blessed." They always make sense when the plot moves on. The trick is the lead time, or "時(shí)間差": if delivered a few minutes later, you would have expected it, then it lost the charm. Timing is everything.

I love it when playwrights for the theater turn to direct or write for movies. Harold Pinter is too monochromatic; Sam Shepherd is not eccentric enough, for my taste; Mamet is the Man.

"Then you are truly blessed."

　　電影比較暴力！
　　打打殺殺，沒(méi)把人命當(dāng)回事，不是很認(rèn)同這種方式．
　　倒是演那個(gè)失蹤的女兒的演員讓我眼前一亮：不就是＜Veronica Mars＞里面那個(gè)Veronica嗎，我超愛(ài)她的．
　　雖然在這部片子里是個(gè)大配角，形象也太……慘，但是還是挺高興看到了她幾眼。
　　

這部電影看過(guò)兩遍，第一遍看的時(shí)候錯(cuò)過(guò)了名字，找了整整一個(gè)下午，就是為了知道它的名字，原因歸結(jié)為我狂愛(ài) 瓦爾 基墨。無(wú)論是《沙頓海》還是《蝙蝠俠》。他的憂郁，與決絕都是我最?lèi)?ài)的表情——
這部電影源于瓦爾對(duì)找出羅拉 牛頓 營(yíng)救她回家。這讓我想到了就就孩子，他們并沒(méi)錯(cuò)，只是比別人更需要愛(ài)！
瓦爾，眼神中的堅(jiān)持，抗拒，以及抗擊絕望的韌性。
無(wú)不讓我狂戀——