"The best cast I've ever worked with" said Jack Lemmon after filming Glengarry Glen Ross, and it is definitely no surprise as to why he would make such a bold statement. But what else do you expect from an ensemble of greats; including the likes of Al Pacino, Kevin Spacey, Jack Lemmon, Ed Harris, Alan Arkin, Jonathan Price and a cameo from Alec Baldwin. All of the cast are essential in driving the narrative and perform with utmost level of foul-mouthed professionalism.
"It takes brass balls to sell real-estate" exclaims Blake (played by Alec Baldwin), a corporate business tycoon. Furthermore, it is in this early monologue that Blake verbally abuses a group of real-estate workers and threatens to fire them all unless they produce tangible sales over the space of a few days. All of the men are handed defective leads, which are in urgent need of closing; the closer who comes first wins a Cadillac, the runner-up receives a set of steak knives and anyone else gets fired. It is a blunt and to-the-point story, which becomes exceedingly problematical after a break-in at the office, whereby the "Glengarry" leads are stolen. Soon the film becomes a vehicle for depicting greed, as each of the protagonists slyly con their colleagues, representatives and consumers for the one "big break."
Brusque and dynamic mannerisms display the character's lust to win. Razor-sharp and profanity-laden dialogue will leave the viewer gasping for more. This callous language is what makes the film so exceptionally nail-biting. Grasping the upper-hand in the business world is a process which requires constant and immediate struggle. Due to deceitful manipulations the person in control is constantly shifting their status (this can be most notably observed during the final conversation between Kevin Spacey and Jack Lemmon). For the most part, Glengarry Glen Ross relies on its razor-sharp screenplay and weasel-like performances, but the technicalities are just as remarkable, mostly focused on creating a theatrically claustrophobic atmosphere. This is best suited, being that the piece is dedicated in keeping to its stage roots.
Nevertheless, the cynical temperament enables the picture to become unhindered in its honesty, and transmits every misdemeanour with both wit and sincerity. The film's characters have been demoralised in the workplace because of the stream of verbal abuse, condescending lies and the concluding dismemberment of their drained existence. Arguably, the outdoor land that the real-estate agents are attempting to sell could be seen as a contrast to the office environment that they are so intensely surrounded by. Among the greatest films of the '90s, Glengarry Glen Ross contains a superb blend of all that is necessary in crafting an irreplaceable ensemble piece. Vulgar and essential, this is a picture brimming with depressing honesty and acidic realism. Not one to be missed, by any means.
"It takes brass balls to sell real-estate" exclaims Blake (played by Alec Baldwin), a corporate business tycoon. Furthermore, it is in this early monologue that Blake verbally abuses a group of real-estate workers and threatens to fire them all unless they produce tangible sales over the space of a few days. All of the men are handed defective leads, which are in urgent need of closing; the closer who comes first wins a Cadillac, the runner-up receives a set of steak knives and anyone else gets fired. It is a blunt and to-the-point story, which becomes exceedingly problematical after a break-in at the office, whereby the "Glengarry" leads are stolen. Soon the film becomes a vehicle for depicting greed, as each of the protagonists slyly con their colleagues, representatives and consumers for the one "big break."
Brusque and dynamic mannerisms display the character's lust to win. Razor-sharp and profanity-laden dialogue will leave the viewer gasping for more. This callous language is what makes the film so exceptionally nail-biting. Grasping the upper-hand in the business world is a process which requires constant and immediate struggle. Due to deceitful manipulations the person in control is constantly shifting their status (this can be most notably observed during the final conversation between Kevin Spacey and Jack Lemmon). For the most part, Glengarry Glen Ross relies on its razor-sharp screenplay and weasel-like performances, but the technicalities are just as remarkable, mostly focused on creating a theatrically claustrophobic atmosphere. This is best suited, being that the piece is dedicated in keeping to its stage roots.
Nevertheless, the cynical temperament enables the picture to become unhindered in its honesty, and transmits every misdemeanour with both wit and sincerity. The film's characters have been demoralised in the workplace because of the stream of verbal abuse, condescending lies and the concluding dismemberment of their drained existence. Arguably, the outdoor land that the real-estate agents are attempting to sell could be seen as a contrast to the office environment that they are so intensely surrounded by. Among the greatest films of the '90s, Glengarry Glen Ross contains a superb blend of all that is necessary in crafting an irreplaceable ensemble piece. Vulgar and essential, this is a picture brimming with depressing honesty and acidic realism. Not one to be missed, by any means.