‘Henry Johnson’ Review: Shia LaBeouf and Evan Jonigkeit Are Riveting in David Mamet’s Dark Study of Puppet Masters and Pawns

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Filmed theater has its advantages, particularly accessibility, but it rarely approximates the immediate feel of being present. This is what makes David Mamet’s screen adaptation of his latest play, “Henry Johnson“, so unusual. Instead of trying to expand this typically dialogue-heavy, structurally stage-bound drama – consisting of four two-character scenes linked by narrative gaps – Mamet fully immerses himself in the theatrical nature of the piece. He brings back the talented cast from the lesser-known 2023 Los Angeles premiere and captivates us with some of his sharpest writing in years.

As a gamer, let me clarify that I’m not talking about a casual, improvised performance captured on camera, but a full-blown movie. Unlike a minimalist, confined staging in a black-box theater, this film features authentic sets – a law firm office, a prison cell, and the library within the same correctional facility. Remarkably, even with the transition from stage to screen, there seem to be few compromises made, and yet the movie maintains a dynamic, non-stagnant feel, never appearing bound or static.

In this work, there’s no extra detail or explanation that isn’t directly shown in the narrative, and we don’t witness the interactions of two key characters who remain unseen throughout. However, Mamet-style dialogue is used effectively to reveal the characters’ psychological depth without relying on physical actions or visible connections between them.

Despite its simple style, the film manages to feel very cinematic. The camera work of DP Sing Howe Yam is meticulous, capturing every detail, while Banner Gwin’s editing can flow smoothly or be abrupt, mirroring Mamet’s dialogue. Jay Wadley’s score effectively uses tense percussion and contemplative strings to build suspense. Above all, the play comes alive through a talented group of actors who immerse themselves fully in their roles, with Evan Jonigkeit, Mamet’s son-in-law, delivering a standout performance as the sole character appearing in all four scenes.

It’s quite challenging to find another playwright as renowned as Mamet during his heyday, who has since experienced such a significant decline in critical acclaim, having initially been hailed alongside Sam Shepard and August Wilson as one of the most impactful American playwrights from the 70s and 80s. Mamet’s rapid-fire dialogue, filled with biting insults and peppered with strong language, significantly influenced both theater and film discourse in our country.

David Mamet’s growing criticism might not be primarily due to his shift towards neoconservative rhetoric, but rather the noticeable stiffening of his more recent works. Themes that once pulsed with adversarial energy and insightful exploration of power and masculinity have turned into dry debates and anecdotes filled with self-satisfied cynicism, losing their thematic depth and clarity.

It’s delightful to recall, in the captivating introduction by Henry Johnson, the feeling of Mamet at the pinnacle of his great abilities. A seemingly casual chat between office colleagues transforms into a clever interrogation, with Henry finding himself in the office of his senior law firm associate, Mr. Barnes (Chris Bauer, exceptional in his role as a Mamet regular). They discuss a job candidate recommended by Henry, an old college friend.

As I delve deeper into our friend’s past, it becomes apparent that they served time for manslaughter, opting for a plea bargain to avoid a trial for first-degree murder. Barnes adopts a casual demeanor, but there’s an underlying knowledge that hints at more than just innocent curiosity. The crime details are grim; it involves a girlfriend who resisted ending an unwanted pregnancy, and the use of violence to induce an abortion against her will.

However, Barnes is already well-versed in the situation and appears more concerned about his college friend’s influence over Henry. The younger man acknowledges that he has long admired his companion’s prowess with women, seemingly oblivious to the poor impression it gives when discussing a known criminal. In a calculated manner, Barnes discloses Henry’s illicit activities to him, revealing that he has been manipulated and controlled since college, and that this control would only end when he could be of use to his friend.

In the prolonged dialogue, the economy of words is so superb that it feels almost tailor-made for a one-act play by David Mamet. This conversation gradually intensifies, transforming into a heated pressure cooker, where an unseen master manipulator is at work, while someone in power mercilessly reveals their subordinate as a fool or a pawn.

Henry appears to be an easy target or a dupe, but Mamet and Jonigkeit add intriguing complexity to him. Is he simply vulnerable, with such a weak character that he attracts the influence of stronger personalities, even unconsciously justifying their most horrific actions? Or does he possess the ambiguous morality of someone who knowingly takes part in these events?

The questions persistently circulate as the narrative transitions to Henry’s initial day in prison. His fellow inmate, Gene, is portrayed by Shia LaBeouf, exhibiting a captivating charm similar to a hypnotist, effortlessly extracting what he desires from both the guards and Henry. The tense unpredictability, coupled with a subtle undertone of madness and impending danger that characterizes many of his finest performances – occasionally seen off-screen as well – makes him an excellent choice for Gene, who appears as a fervent motivational speaker from the manosphere, infected by a feverish zeal.

One intriguing aspect of LaBeouf’s performance lies in the uncertainty it creates about whether Gene is mentoring Henry or manipulating him for domination. Throughout many scenes, Jonigkeit portrays Henry as seemingly entranced by his cellmate’s endless chatter. When Gene advises Henry not to challenge the powerful inmates of the prison yard but rather to associate with the weak who are easy targets, it leaves us wondering if he is giving genuine advice or subtly evaluating where the white-collar criminal fits within the prison hierarchy.

For several weeks following that ambiguity, the library becomes the setting where Gene assigns Henry as a worker. During this period, Henry has been meeting with a prison counselor, who is another significant yet unseen character in the drama. Simultaneously, there have been changes in Henry’s legal situation; he is now being viewed as an accomplice to murder.

The setting appears intentionally crafted to stir controversy, potentially feeding into the accusations of misogyny frequently directed towards Mamet, as Gene systematically undermines Henry’s confidence in the attorney.

He wonders why she decided to reveal secrets about her questionable past to him. “She’s playing you,” Gene says, which isn’t too dissimilar from his perspective on the friend who got Henry imprisoned: “You’re his pawn.” With an intentional manipulation reminiscent of Svengali, Gene advises Henry to test the counselor’s reliability, cleverly devising a method to acquire a firearm.

In the fourth and concluding scene, time skips ahead without a specified duration to depict Henry, armed and holding prisoner the injured guard Jerry (Dominic Hoffman), in the library. Despite appearing weary, Jerry subtly manipulates Henry by correctly inferring that even Henry’s list of demands originated from Gene.

Just as previous stages of the story were crafted, Mamet masterfully scatters hints throughout, enabling us to understand and connect each new turn of events.

Amidst the ruckus of sirens, police cars, and eventually a helicopter outside, Jerry discusses shifts in his profession throughout the years, recounting tales from times gone by. However, one can’t help but wonder if he, like others, is merely deceiving Henry.

Starting May 9, you can rent the movie from our official website, henryjohnsonmovie.com, rather than waiting for a traditional release. On that day, it will also be shown simultaneously in theaters across the nation, with the LA screenings being the first.

It’s been a decade since a fresh Mamet play premiered in New York (the 1985 Pulitzer Prize-winning drama, “Glengarry Glen Ross“, is still running on Broadway), and eighteen years have passed since he last directed a film. This sharp screen adaptation was initially designed to document the original Los Angeles production of the play, but it has established itself as a standalone movie with conviction. In a world that appears more and more polarized into winners and losers, exploiters and the exploited, the character “Henry Johnson” resonates bitingly with our contemporary American existence.

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2025-04-30 19:26