Rodrigo Amaro Here's a superb dramatic thriller with a very realistic focus on issues like racism, cultural and religious intolerance, and the raw side of being a policeman. In "Homicide" Joe Mantegna plays Bobby Gold, a detective over so many pressures, already on the run trying to find a cop killer (Ving Rhames) when he's called to take over a homicide case, the murder of a Jewish lady in what appears to be a robbery in her shop in a poor neighborhood. Since he was the first detective at the crime scene and the one who reported the incident, he's told by his bosses to forget about the other case and keep working on this one; besides these facts he's also Jewish but a non practicant one. As one of those strange twists of fate, the reluctant Bobby will confront himself in his own way of thinking about his religion which he always neglected for seeing himself as part of something weak; and he also enters in conflict with his self and his views of his work during the course of both investigations, which affects his whole way of seeing things how they really are. Writer and director David Mamet manages to skillfully pull the strings of so many backgrounds and worlds without downplaying situations or disappointing the viewers. Everything works in a perfect tense mood; the pieces are well connected and the ability of surprising the audience is incredibly well done but it only works if the viewers fully understand the movie's premise and the real message behind the case rather than only paying attention to the investigations and the action scenes. One of my favorite scenes is the one where Bobby meets a Rabbi who fears more of his badge than his gun, and he reveals what Bobby really is, in being born as Jew but who can't read words in Hebrew; the turning point for the detective to see what he really is. Mantegna comes with one of his best performances as the hard working detective who at the end of the film realizes how insignificant his instincts were, since he end up betrayed by himself for not seeing that the whole missing piece in this crime puzzle was already in front of him. Also here with a great performance is William H. Macy, playing Mantegna's tough partner. There's so much to be said about "Homicide" but it's better not or I'll spoil the amazing surprises this movie has. 10/10

Michael Neumann A professional hostage negotiator in a nameless big city police department finds more than he bargains for while investigating the murder of an elderly Jewish shop owner. David Mamet's third film is both cerebral and exciting, but for the first time his confidence as a director may have actually surpassed his skills as a writer. To his credit Mamet (as director) refuses to rely on formula technique. He doesn't, for example, lean on the crutch of music cues to generate easy suspense, most likely because the dialogue itself is Mamet's music, although the deliberate, emphatic pacing of each word might have sounded totally bogus if the script weren't so well written. But it's a pity he didn't extend the same care for language to his story as well. The tricky plot, involving issues of race hatred and cultural identity, is certainly pessimistic (in a shallow sort of way), but it doesn't add anything new to the idea that Everyone Hates Everybody Else, and the irony of the final revelation is deflated by the massive coincidence of a vital clue being revealed as an innocent scrap of waste paper.

tieman64 David Mamet's "Homicide" stars Joe Mantegna as Bobby Gold, a homicide detective who is in the process of tracking down a ruthless drug dealer. As the film progresses, however, it breaks away from the crime genre and becomes a haunting examination of self-identity. Bobby, it turns out, has spent his life being bullied for his Jewish ancestry. This has led to feelings of low self worth, anxiety and isolation. As a result, Bobby joins the police force, a conscious attempt to abandon his roots and become a "public servant" of America. More insidious, though, is the implication that those persecuted for a perceived weakness themselves seek power and the authority from which to dispense violence.Believing his Jewishness to be the reason for his constant persecution, Bobby adopts a completely new persona, often swearing and insulting Jews. He abuses to fit in. But even in the police force Bobby is bullied. Alienated, he becomes a self-hating Jew, constantly trying to prove his worth and gain acceptance.The film's second act finds Bobby being given the opportunity to help an underground Zionist organisation responsible for bombing neo-Nazi sleeper cells. Unsurprisingly, he is seduced by the power and confidence these Jews exude, and wishes to join them; he seeks to symbolically reclaim his Jewish roots.Typical of Mamet, the film then reveals itself to be an elaborate con game. The Zionist organisation is merely using Bobby as a means of getting at a list hidden in police storage. They blackmail him and force him to make a choice: serve the Jews or serve the police. This, of course, is hugely subversive, especially in light of Spielberg's big Holocaust list movie released some years later.The film's final acts find Bobby being forced to choose between being dutiful to the police force (and by extension the US) and being dutiful to Israel (and by extension his ancestors). He chooses the former, but to no avail. Due to several unfortunate events, Bobby fouls a police operation, loses his partner and gets shot in the leg. He is then demoted, the film ending with Bobby shunned by the police force and bitter at being used and mismanaged by his "Jewish brothers". Without friends or family, and betrayed by the Zionist organisation, Bobby becomes further alienated; a wandering Jew, forever without country, family or roots. It's a very depressing ending.In the film, three demands are placed on Gold: to be a Jew, to understand evil and to do his job. Mamet shows that evil is the betrayal of self (the defamation of oneself in the hope of gaining recognition). In this regard, Gold's name is itself symbolic. He does not recognise his own worth, relying instead on outside validation, an act which symbolically results in "gold" turning into "mud".Elsewhere Mamet makes several parallels between conspiracies directed against the Jews and various forms of persecution against blacks. The film's title, "Homicide", is itself a pun. Here it means "death of the home".Other interesting things abound. Roger Deakins' cinematography is gorgeous and Mamet, as is typical, undermines genre conventions at every turn. He has his police hero constantly falling when doing "cool action jumps", police squad cars skid fancifully to a halt for no particular reason, dramatic showdowns occur with something as trivial as a dog and the police officers are always apologetic and polite after insulting one another. And of course, as is expected, Mamet's dialogue is a delight to listen to. It's rhythmically sloppy.In many ways this is Mamet's last film. After "Homicide" Mamet would write a book in which he explains his new philosophy of film-making. From this point onwards he would strip his films down drastically. The lighting would be flat, the dialogue would be direct, the camera work would be virtually non-existent and the music would be minimal.Consider this line from Mamet's book: "Acting should be a series of simple physical actions. If the actor wants to know how he should walk to a door in the scene, the director should tell him, 'Go to the door,' and, if the actor presses on: 'Go to the door. Quickly.' Don't act. Don't emote. No motivation. No back-story. No character arc. No discovery. These are indulgences that cannot possibly be manifested physically. Just go to the door. Quickly. Cut. Print. Go home."Mamet's new found philosophy – which he calls "heightened logic" - is important in understanding why his films are so self consciously artificial, why his stories all revolve around elaborate cons and why he directs such trashy material. On the surface, Mamet's films are all about con-jobs, but covertly, they're all about Mamet's true passion: language. Language is often – if not inherently - selfish. To talk, especially in the way that Mamet's characters talk, is to con. Stunted half sentences and droning repetitions aren't there just for the fun of it. They are successful and less successful attempts at persuasion.So thematically, Mamet's films are all about "words". Post "Homicide", however, his directing style evolved in such a way as to eradicate everything that detracts from his words. By removing music, cinematography, acting, sound etc, you've essentially cancelled out the director's "vision". And after you've cancelled out a director's "vision" and an actor's "interpretation", nothing remains but the writer's words.Another reason for the drastic change in style (post "Homicide") is Mamet's belief that neither film nor art has the power to educate audiences, change views or teach. Art, in his very pessimistic view, merely affirms the wisdom of the wise and ignorance of the ignorant. So instead of "content", Mamet's films have avoided "issues" entirely and become preoccupied with a kind of Zen like professionalism. His scripts are attempts to perfect the "word". An effort to keep on working, for no better reason than to hone one's personal skills.8.5/10 – See Melville's "Army of Shadows" and Lumet's "The Pawnbroker".

hausrathman A big-city police detective, Joe Mantegna, who always ignored and downplayed his Jewish heritage, finds himself forced to examine his values after being pulled off what he considers an important case, at the request of influential Jewish citizens, to investigate the death of an old Jewish storekeeper, who might have been the victim of anti-Semitic violence. This film isn't without its flaws, but writer/director David Mamet deserves a great deal of credit for having the courage to present a number of provocative questions about what it means to be a Jew in an often hostile society. The film can also be applauded for not offering any simple answers. Usually in Hollywood movies, characters are rewarded for returning to their roots. In "Homicide," the reverse is true as Mantegna soon finds his life spiraling out of his control. The drama is always compelling, if somewhat heavy-handed and implausible at times. More importantly, the Mametisms which increasing mar his work, i.e., scripts where every character speaks in exactly the same voice, and big roles for non-talented wives, are kept in check here. This is my favorite Mamet film.