David Mamet’s Famous Dialogue Lands with a Thud

After a 17-year absence behind the camera, David Mamet adapts his 2023 play Henry Johnson for the silver screen. And his signature power dynamics, moral corruption, and raging machismo are evident in another blistering onslaught of rapid-fire dialogue. The production takes place in three stark settings with a minimalist set design, lighting, and sound cues, a bare-bones approach that may have worked if the material or characters were interesting. Henry Johnson isn’t engaging and doesn’t spur the visceral response of Mamet’s previous Pulitzer Prize-winning work. The result is a tedious journey that lacks cinematic virtue.

The title character can best be described as a weed blowing in the wind of masculine dominance, and Henry Johnson’s plot is slowly revealed as the protagonist makes bad decisions under the influence of men he views as stronger and more authoritative than him. Admiration begets foolishness, which in turn leads to greater stupidity and worse consequences. It’s no surprise that the source of his internal dysfunction is an inability to understand and deal with female companionship: Mamet’s always dude-centric, and there’s no deviation here.

Bad Advice, Bro

The narrative opens with Henry (Evan Jonigkeit) being called into the office of his boss, Mr. Barnes (Chris Bauer). An extensive back and forth finally gets to the nitty-gritty point: Henry, who we assume is a lawyer, has recommended a convicted felon for a job with the firm. The applicant served years in prison after agreeing to a plea deal. Henry knew him in college, and held a deep admiration for his skills as a lothario; the man even offered to share his spoils with the meek Henry. Henry believes the unnamed friend has done his time and deserves a shot at redemption.

Mr. Barnes, of course, digs deeper and skewers Henry’s version of events, leading to a scene where we learn the ugly nature of the defendant’s crime against his girlfriend. It’s awful, and calls into question how Henry could be so naive as to support this man’s return to society. Then, another shoe drops with damning implications that significantly affect Henry’s well-being. The next time we see him is unpacking in a prison cell as his new roommate, the tattooed and imposing Gene (Shia LaBeouf), enters.

Mamet (Glengarry Glen Ross, State and Main, Spartan) stays true to form with long and detailed exposition. Nothing is straightforward or succinct; everyone has words of advice for Henry, but they all want something in return. This is the window into Henry’s naturally submissive personality, as he intrinsically invites control from every alpha male he encounters. He’s the lowest rung on the ladder, and he begs to be stepped on.

Jonigkeit spends the majority of the film listening, nodding, and accepting, without any serious pushback. Mamet’s blocking for the first two acts has him sitting while the other characters circle like vultures. The prison setting has him fearful, so his reticence does make sense. The fact that Gene begins with a jailhouse primer on avoiding rape and shanking does have his attention rapt. But what happens next is par for the course when critical thinking and self-preservation continue to fail Henry.

Shia LaBeouf’s Superb

It’s important to note that Mamet isn’t espousing misogyny or agreeing with Gene’s invective towards women; he’s framing specific character traits that hold sway over Henry. The first act illustrates why Henry was so impressed by the college creep, who could go home with a different girl every night and didn’t have to pay rent. LaBeouf, superb as always, represents the next evolution of Henry’s heroes, delivering a grotesque monologue about Snow White that would have Andrew Tate doing somersaults of approval. Henry’s willingness to listen and act on this sexist garbage makes him an unlikable fool, and there’s never a sliver of sympathy for Henry as his life spirals towards destruction. Mamet’s harsh lesson is learned and deserved in a predictable final act.

Henry Johnson can be appreciated for Mamet’s intricate screenplay, and LaBeouf’s supporting performance. Some Mamet fans will devour this film and all of its protracted rambling, while others won’t be able to get past the yawn factor. The repulsive material isn’t meant to be debatable. Henry’s actions are obvious, given his track record, and it’s a slog getting through all the yapping when the film isn’t visually exciting. When you’re watching an austere play with basic production values, it’s a lost cause if the script and characters aren’t compelling.

Henry Johnson is a 1993 production. It premieres on May 9th at the Aero Theatre in Los Angeles, and will be available to rent here, with additional markets opening throughout the month.