Shadows on the Wall | Henry Johnson

Henry Johnson

dir-scr David Mamet
prd Evan Jonigkeit, Lije Sarki
with Evan Jonigkeit, Shia LaBeouf, Chris Bauer, Dominic Hoffman, Ari Basile
release US 9.May.25
25/US 1h25

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Diving straight into a thorny and lengthy legal discussion, this film adapts a play about men in a room talking pointedly about big issues. This of course is not unusual for writer-director David Mamet, who fills the screen with wordy scenes that highlight large themes and random character details. So any plot is conveyed through dialog: we listen to understand the premise and situations as these men talk.

Working in a legal firm, Henry (Jonigkeit) has a long conversation with his boss Barnes (Bauer) about his connection to a case involving his college friend, who caused the miscarriage of his unborn child. And the next thing he knows, Henry is in prison himself, negotiating for space with his cellmate Gene (LaBeouf), who has ideas about everything and warns Henry of the need to look strong in here. Later in the library, Gene helps Henry with his case. And after something goes horribly wrong, Henry barricades himself in with librarian Jerry (Hoffman).

With such beefy, fascinating dialog, watching two men talk is never dull, as these rambling discussions surge from topic to topic, exploring power and justice from various angles. Both Barnes and Gene explain to Henry what is actually happening around him, namely that he is being exploited by others. A key theme relates to motivations, lies and betrayal. And the sense of nihilism is so strong that we quickly become aware that can't end happily.

All of this feels very stagey, although performances are low-key and cinematic, allowing characters to emerge more through how they listen than what they say. This makes all four characters intriguing, even if it's difficult to care about them. In the title role, Jonigkeit is likeably lost as a hapless guy who has very little control over where events push him. He soaks up what everyone has to say, perhaps believing more than he should. His three scene partners have strong charisma, most notably Hoffman in a more nuanced scene in which something else is clearly going on.

Heady and intense, this is a film that demands that the audience pay close attention. Although maintaining interest isn't easy. Relentless discussions drift into conspiracy theories, most notably ideas about control relating to gender, including manipulation and fantasies. As a result, the film begins to feel like a lengthy rant about everything that Mamet believes is wrong with society, as seen in friendships and romantic relationships. And the final shot is downright chilling.

themes, language 24.Apr.25

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