In fact, one really should watch the film Glengarry Glen Ross (1992) as it is meaningful to write dialogues in this way.

Truly, one can learn from Mamet how to write correct dialogues that can create tension on their own.

I will definitely read more of his works.

For now, I am trying to relieve the trouble.

Glengarry Glen Ross is a remarkable film known for its powerful and engaging dialogues. The way the dialogues are crafted in this movie is a masterclass in creating tension and drama. Mamet's writing style is distinct and effective, making the conversations come alive on the screen. By watching this film, one can gain valuable insights into the art of writing impactful dialogues.

I am highly impressed with Mamet's work and look forward to exploring more of his writings. His ability to convey complex emotions and ideas through dialogues is truly remarkable. I believe that by studying his works, I can improve my own writing skills and create more engaging and meaningful stories.

For now, I need to focus on relieving the trouble at hand. However, I will not forget about Mamet's works and will continue to draw inspiration from them in the future.

I was reading this while being as drunk as hell and lying on the couch.

It seems that the general consensus is that dudes rock!

This simple statement holds a certain truth. Dudes often have a charm and energy that can be quite captivating. They might have a unique sense of style, a confident swagger, or a passion for something that makes them stand out.

Whether it's in the world of sports, music, or any other field, dudes can make a significant impact. Their enthusiasm and drive can inspire those around them and create a sense of excitement.

Of course, this doesn't mean that everyone has to fit into the "dudes rock" mold. There are many different types of people with their own unique qualities and strengths. But there's no denying that there's something about dudes that can make them seem pretty cool.

So, the next time you see a dude doing something awesome, give them a nod and appreciate the fact that they rock!

Glengarry Glen Ross is a remarkable play by David Mamet that not only captivated audiences but also won the prestigious Pulitzer Prize in 1984.

The story unfolds over the course of two days, delving into the lives of four desperate Chicago real estate agents. These agents, driven by their own financial needs and desires, are willing to stoop to any level, engaging in a plethora of unethical and illegal acts.

From telling lies and using flattery to bribery, threats, intimidation, and even burglary, they stop at nothing to sell undesirable real estate to unsuspecting prospective buyers.

The play is deeply rooted in Mamet's own experiences, having previously worked in a similar office environment.

This first performance took place on October 31, 2009. The play, titled "Glengarry Glen Ross - A Play by David Mamet," was translated by Amid Roshan Zamir and published in Tehran by Nila in 2007, consisting of 108 pages.

"Glengarry Glen Ross" is a powerful exploration of the lengths people will go to in the pursuit of success and wealth, highlighting the moral and ethical dilemmas that often arise in the cutthroat world of business.

To your dear, this is no longer the world of Adam, it is no longer the world of Adam... It has become the world of those who constantly look at their watches and are absent-minded from their work, the world of bureaucrats, those sitting behind desks... What can be said? It has become a silent world. There is no more news from the events in it. (Pause) The generation is on the verge of extinction, this is the reality! (Pause) We are the people of a generation on the verge of extinction. Just because... Just because of this... Just because of this that we must have each other's air.

This passage seems to express a sense of melancholy and concern about the state of the world and the future of the generation. It reflects on how the world has changed and perhaps lost some of its vitality and meaning. The repetition of certain phrases emphasizes the importance of having a connection with others in this seemingly desolate world.

Maybe we should all take a moment to think about the world we live in and how we can make a positive difference. Instead of being absorbed in our own lives and work, we should reach out to others and build stronger relationships. Only by doing so can we hope to create a better future for ourselves and for the generations to come.

Still on my Mamet bender.

I had only seen this film, so I was extremely interested in reading the play. It's a really good play to read especially when you think you're sick and tired of your job. Because it vividly proves that things can actually be a whole lot worse than what you're currently experiencing.

You can savor the American dream as if it's being skewered on a rotisserie stick, and seasoned with a whole lotta cussing. I listened to the play, but I just couldn't unsee Pacino, Lennon, or Baldwin. Their performances in the film were so memorable that they kept popping up in my mind. What a flick that was! It really left a deep impression on me.

Even though I was reading the play, the images from the movie just wouldn't go away. It shows how powerful the film adaptation was.

I'm glad I decided to explore both the film and the play. It gave me a more comprehensive understanding of Mamet's work and the story he was trying to tell.

Glengarry Glen Ross is a remarkable play penned by David Mamet. It has received widespread acclaim, gracing the stages of the National Theatre of London and Broadway, and even being adapted into a movie with an A-list cast including Al Pacino, Alec Baldwin, Jack Lemmon, Alan Arkin, Ed Harris, and Kevin Spacey.

The story unfolds over two days in two distinct settings: a Chinese restaurant and a real estate office. The characters, real estate agents from Chicago, are engaged in the unethical practice of selling swampland in Florida to reluctant buyers. They stop at nothing, resorting to lies, cheating, bribing, and generally being insufferable. Their immoral behavior extends beyond their interactions with the average Joe; they are equally ridiculous and willing to do almost anything, including stealing, to make a profit. In essence, they are truly despicable individuals.

I have mixed feelings about this play. I randomly picked it up from the library during my first visit. As I was wandering around familiarizing myself with the layout, the title caught my attention. I took it home and read it during a blackout, which I consider to be guilt-free reading time.

My main issue with the play was the language. The characters rarely finished their sentences, which made it quite challenging to follow. While I can understand swindly and egocentric men becoming a bit fragmented in their speech when excited, having every single character struggle to form a complete thought was exhausting. I wonder if the film version is an improvement. It's hard to imagine that they could have replicated the play's dialogue and action faithfully in the movie. Otherwise, the movie would be extremely short and dull, considering that the entire play consists of conversations. With such a talented cast, however, it should still be an enjoyable watch.

On the positive side, I found it fascinating to observe and listen to/read about such horrible people. They were exaggerated stereotypes of swindlers, and their constant complaining and scheming provided some entertainment. Overall, I can't wholeheartedly recommend this play. I'm glad I read it once, but I have no intention of revisiting it.

The overriding theme that the world is full of back biters and back stabbers is a harsh reality, and unfortunately, the workplace has a tendency to magnify this aspect even further.

We often don't need further instruction in this particular lesson as we experience it firsthand in our daily lives.

I vividly remember thinking that the movie was quite good when I watched it many years ago. However, after reading the play, my perception has changed. I no longer have the inclination to revisit the movie, which was something I was actually hoping to do when I purchased the book. It seems that the written version has presented a different perspective that has influenced my view of the story.

Perhaps this is a reminder that our initial impressions can sometimes be altered as we gain more in-depth knowledge and understanding.

In a world where backstabbing and negative behavior can be prevalent, it's important to stay vigilant and true to ourselves.

The first one is the stage play, which is a bit shorter than the cinematic version.

The second one is the script of Mamet's first movie with those annoying camera notations, which are unnecessary in an edition like this.

Just for the magnificent dialogue between Moss and Aaronow in the Chinese restaurant, it is already worth reading.

The stage play offers a more concentrated and immediate experience, allowing the audience to focus solely on the words and the actions of the characters.

The script, on the other hand, gives an insight into the filmmaker's vision and the technical aspects of the movie-making process.

Both have their own merits and can provide a unique perspective on Mamet's work.

Whether you prefer the stage play or the script, one thing is certain: Mamet's dialogue is sharp, witty, and full of depth.

It has the power to draw you in and keep you engaged from beginning to end.

So, if you're a fan of Mamet or simply interested in great writing, give both of these a try.

You won't be disappointed.

What's the real difference, indeed, between engaging in shady real estate transactions and selling property to those on the financial brink, and robbing an office belonging to the wealthy jerks who amass their fortunes from the proceeds of those underhanded real estate deals? One preys on the poor to benefit the rich, while the other robs from the rich out of resentment.

Glengarry Glen Ross is both entirely about this question and yet not about it at all. Its ensemble of characters is completely unappealing; there is no one in the cast to whom we can relate, despite the tiny fragments of their personal tales that we are privy to; and unethical behavior - regardless of legality - pervades the entire narrative. There is no one to like, nothing to care about, and Glengarry Glen Ross makes me wish I never encounter men like those in this play.

It sounds like a terrible experience, doesn't it?

However, such is the power of Mamet's dialogue - functioning here at its absolute finest - that a path is carved for us to navigate through the chaos of action and character. Watching or listening (as I did this time to a powerful production by L.A. Theatreworks, with an outstanding performance by Joe Mantegna and what seemed like a drunken performance by Richard Dreyfuss) to this play doesn't feel like observing or hearing a performance. When performed well, when the cadence of Mamet's words - the overlaps, the repetitions, the rhythms - are executed correctly, it is as if one is sitting in an office full of jerks and watching them attempt to out-jerk each other. It's captivating, and perhaps no playwright has ever come as close as David Mamet to capturing the true speech of a particular time and place.

Look.

Look. Are you LISTENing to me? I'm not some Brooklyn beggar, okay? I'm not some Oberlin grad with a hundred grand in debt and paying a couple grand a month in rent. I'm not some slave in the clickbait content factory, that's the God's truth, okay? You think I read this play because it's in the news? No. No. NO! I didn't go to Sarah Lawrence and I don't write for Vice, you got it? My reading isn't dictated by the news. I don't have to mention Trump in every review for those sweet resistance clicks, okay? Okay? I had personal reasons. Don't ask. You don't want to know. Trust me.

So how is it, you're wondering? There's craft here, that's for damn sure. The guy could craft a play. They could do it in those days, man. Not like now. Three short scenes for set-up, then a tour-de-force, FORCE, I'm telling you, when it all comes together in Act Two. It goes off like fireworks. Take that to the bank. Everybody coming and going and getting what's coming to them.

What's it all about? Real estate guys, if you can believe it. Older guys at the end of their rope, upstaged by the younger guys and the newer way of doing things. Getting so desperate they start to think about larceny, man. Themes? Look, listen, pay some attention for once in your life. If you think this play is a put-down on capitalism you really got another thing coming to you. It's nostalgia, okay. Death of a Salesman shit. Once upon a time you had to go out there and talk to people and know how the world worked to sell some real estate. You were a warrior. You were a knight. And now it's all smooth talking business guys. Enough to make you sick.

Anyway. Subtext? Subtext? Something ethnic, I think. A touchy subject, I know. But look at the last names, okay? Who's the boss, fucking up our heroes' lives? Williamson. A WASP name, you got it? And our heroes: Levene, Roma. Italians, Jews. Immigrants' kids, strivers. The by-their-bootstraps crew. That whole scrappy generation. Getting wiped out of the business. Out of business. Gentrified, they call it these days. GENTRIFIED. Enough subtext for you?

Finally, how's the style? It's a style. Way too much of one, probably. Easy to parody. PARODY, okay? It's a cheap shot, I know. Below the belt. Kick in the balls. The easiest trick in the book. But still. Still. It's like fashion. You get this much style, you'll get imitators. The sincerest form of flattery. Anybody can use the italics. All CAPS. And the ellipses. Don't get me started on the ellipses. And then put in the fucking F-word every other word. But there's style and there's style. Mamet can do things with it. I'd call it lyrical. Listen. Just listen:

[Quote from the play]

You call it a crook selling real estate. I call it American fucking literature. We could be standing at Walden Pond with this shit. "According to the dictates of my mind." I'm talking about self-reliance, okay? Okay. You call it cheating, I call it art. I don't know about you, but I am SOLD.

| -..What is our life? [Pause] Either we are looking back at the past or we are worried about the future. Our life has been reduced to this. That's it. So what is the present time? [Pause] What are we really afraid of?.. |

It had such an attraction that I didn't even understand when I opened the book and when it ended.

Our life is a complex web of emotions, memories, and anticipations. We often find ourselves either dwelling on the past, reliving the good and the bad, or fretting about the future, filled with uncertainties and fears. In this constant cycle, the present seems to be overlooked. We forget to cherish the here and now, the moments that are passing by us. The book that had such an allure managed to draw us in completely, making us lose track of time. It shows how easily we can get caught up in something that takes us away from the reality of the present. We should strive to break free from this pattern and learn to live fully in the present, appreciating every moment as it comes.

I keep trying to convince myself that I like Mamet and yet, no matter how hard I try, I just don’t.

Maybe it’s his writing style, which some find brilliant but I find overly complex and difficult to follow.

Or perhaps it’s the themes he explores, which seem to be more about shock value than anything else.

I’ve read several of his plays and watched a few of the movies based on them, but I’ve never really felt that connection that others seem to have with his work.

I want to like Mamet, I really do. I know he’s considered a great playwright and has had a significant impact on the world of theater and film.

But for some reason, his work just doesn’t speak to me.

I keep hoping that one day I’ll read or watch something of his and it will all click, but so far, that day has not come.

Maybe I’m just not sophisticated enough to understand his genius, or maybe his work just isn’t for me.

Either way, I guess I’ll just have to accept that I don’t like Mamet and move on.