Out of all of the films that David Mamet has directed that I’ve personally seen (House of Games, Homicide, Oleanna, The Spanish Prisoner, The Winslow Boy, State and Main, Heist, Redbelt, and Phil Spector), his underrated 2004 effort Sparta is easily my favorite. Mamet has long been one of my favorite writers (ask me about the letter I wrote to him in high school…!) and I loved how ballsy this political action thriller is, and I’ll always be continually fascinated with the i…dea that he wrote pretty much the entire film in code and technical jargon — you REALLY have to listen to what’s being said in this ultra-cryptic film. Not that it’s not coherent, it is, it’s just that nothing is traditionally spelled out, and you definitely have to be up for some back-story digging and you’ll need to be able to make some logic jumps on your own.
The film has a 70’s meets the 90’s vibe, with a pessimistic narrative and slick cinematography; the climatic sequence at a private jet hangar is shot with some seriously awesome lens flare POWER, and I loved how gritty Mamet made the early training sequences, where we see two potential black ops recruits being placed in a room, and being told that only one of them is allowed to leave alive. Val Kilmer, on paper, may not have seemed like a logical choice for Mamet’s brand of staccato and stylized dialogue beats, but he’s right at home in one of his best, most focused performances. The excellent supporting cast includes Ed O’Neill as a take-no-bull-shit government worker, Derek Luke as Kilmer’s partner, William H. Macy as a corrupt government official, Clark Gregg, Steven Culp, Johnny Messner, Tia Texada, the always great Said Taghmaoui, and Kristen Bell as the president’s daughter, who has been kidnapped and potentially sold into the EurAsian sex-slave market, with Kilmer and his team trying to relocate her before the press catches wind of the situation.
The events in this film are often far fetched, but I never cared, because everyone takes it so damn seriously, and with Kilmer leading the charge in a totally committed and visceral performance, any plot contrivances are made up for with the ear-catching dialogue that’s filled with numerous lines worthy of quotation and the propulsive direction that Mamet brought to the table. “Where’s the girl?” POWER.