After seeing "Glengarry Glen Ross" upon it's initial release in the early 90's, I was hooked on David Mamet. I wanted to see everything he did. "Homicide" and "The Spanish Prisoner" were the only films of his that, for me. came close to "GGR's" awesome touch but they still did not supersede the original. God knows, I've only seen a smattering of the prolific writer and filmmaker's work. Films like "Wag the Dog" and "State and Main" amused me. "American Buffalo" was a failure. "The Edge" was an interesting failure.

Along comes "Lakeboat." It is one of the most exciting and interesting Mamet pieces to be filmed. Sure, it's not as good as "GGR" but it's a big 2nd on my list of great Mamet films. Written early in his career, the piece is a bit coarse and highly personal. But it is exactly this "diamond in the rough" feel that makes the piece so exciting. One can glimpse quite clearly the genius on the verge of emerging in the dialogue. And Mamet's story here is an awesome piece of work that becomes a vast statement on the beauty of existence and the power and comfort that can come from an older and more experienced person sharing their stories with you.

Concerning Dale, a college student who takes a job on a steel barge travelling on the Great Lakes, "Lakeboat" has the young scholar learning much from the "old salts" on the boat. First, there is Peter Falk as the Pierman. Falk tells Dale (played with a bemused smirk by Mamet's younger brother Tony) an amusing story that sets up the film. It lets us know exactly what to expect from the film. Consistently, these sea dogs get involved in long Mametian discourses about life, love, sex, women, and more.

Then there is Fred (Jack Wallace), Dale's roommate. Fred has the best dialogue of the piece when he talks about getting his first piece of pussy. It's hilarious and perfect. Wallace puts everything right on the mark. Of course, he's dealing with several peers who are out to prove their worthiness with the material, so he has to be good. He is awesome and he sets the standard for his peers here. Not one of them fails. Charles Durning, George Wendt, Denis Leary, and JJ Johnston all get amazing things to say, often clever, always interesting. But there is one actor who simply steals the show.

Robert Forster, as Joe, is amazing. If this guy doesn't get accolade after accolade heaped upon him for his performance here, there is no justice. Forster, with his subtle touch and his low-key manner, breathes incredible depth into Mamet's dialogue. And it's good work to be performed. Forster does not waste a single word. He hits the poignancy and the pathos and the humanity of the dialogue perfectly. It's quite simply one of the finest performances ever committed to celluloid. It is beautiful and wondrous. Forster is so amazing here he makes a young man's dream about being a ballet dancer seem masculine and forthright. Amazing. And he does so much more. Mere words cannot describe the magic he does here with the help of the young Mamet to play off of, and the richness of the words the older Mamet has provided.

The film is directed by Joe Mantegna and the actor could not have picked a better film to begin his career behind the camera. "Lakeboat" is simply an compacted summer on a barge. And while Mantegna does more than simply set up the cameras and record his actors, that's a huge part of the film. The most important part. Only an actor could see that this film doesn't need camera trickery or gimmicks to work. Mantegna concentrates on the actors and the dialogue and the film comes to life under his touch. It's quite lovely.

"Lakeboat" seems to have gotten lost in a shuffle of art films this year and has somehow ended up without a distributor. That's a shame because it is one of the most amusing and interesting and beautiful films out there. It sure the hell beats "State and Main" for entertainment value and for poignancy. If you love Mamet, you may have to search to find this film, but when you do, you'll feel like your discovering one of the author real gems - and you'll be so, so right!

Note:

Andy Garcia has a role for which he is uncredited.

Mantegna has a cameo.

Nepotism abounds here: In addition to Tony Mamet playing a role, Bob Mamet provides the film's score.

Review from Worldfest 2001

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