The Spanish Prisoner

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The Spanish Prisoner
Spanish prisoner.jpg
Theatrical release poster
Directed byDavid Mamet
Produced byJean Doumanian
Written byDavid Mamet
Music byCarter Burwell
CinematographyGabriel Beristain
Edited byBarbara Tulliver
  • Jasmine Productions Inc.
  • Jean Doumanian Productions
  • Magnolia Films
  • Sweetland Films
Distributed bySony Pictures Classics
Release date
Running time
110 minutes
CountryUnited States
Budget$10 million[1]
Box office$13.8 million[1]

The Spanish Prisoner is a 1997 American neo-noir suspense film, written and directed by David Mamet and starring Campbell Scott, Steve Martin, Rebecca Pidgeon, Ben Gazzara, Felicity Huffman and Ricky Jay. The plot entails a story of corporate espionage conducted through an elaborate confidence game.

In 1999 the film was nominated by the Mystery Writers of America for the Edgar Award for Best Motion Picture Screenplay but lost out to Steven Soderbergh's Out of Sight.[2]


Corporate engineer Joe Ross has invented a potentially lucrative and secret financial process. While on a retreat on the island of St. Estèphe, he meets a wealthy stranger, Jimmy Dell, and attracts the interest of one of the company's new secretaries, Susan Ricci.

Jimmy wants to introduce Joe to his sister, an Olympic-class tennis player, in New York and asks him to deliver a package to her. Susan sits near Joe on the airplane back to New York, converses with him about how "you never know who anybody is," and talks about unwitting drug mules. Realizing that he doesn't really know Jimmy, and afraid the package might contain something illegal, Joe opens it on the plane, finding only a 1939 edition of the book Budge on Tennis, and accidentally rips the cover in the process. Once home, Joe buys another copy of the book, to give to Jimmy's sister, and keeps the torn one at his office.

Jimmy suggests that Joe's company and his boss, Mr. Klein, might not give Joe fair compensation for his work. The flirtatious Susan also keeps making suggestions that one never knows whom to trust. Jimmy invites Joe to dinner with Jimmy's sister, and they meet at Dell's place. While at his computer and chatting about business, Jimmy asks if Joe has a Swiss bank account, and finding the answer is no, opens one for him with the token balance of 15 Swiss francs, pretending that it is all an easy lark. Taking him to dinner at a club requiring membership, Jimmy has Joe sign a certificate to join. Over dinner, he advises Joe to consult legal counsel about his position in the company regarding the Process; Jimmy offers his own lawyer, telling Joe to bring the only copy of the Process to their meeting.

Joe learns that the sister does not actually exist and that Jimmy is really a con artist who is attempting to steal Joe's work. Joe contacts Pat McCune, a woman he met on the island who Susan told him was an FBI agent, and whose business card Susan kept. He is enlisted in a sting operation. When Jimmy Dell never shows up for the planned meeting, to his horror, Joe learns that McCune is actually part of Jimmy's con game. His Process is stolen.

Joe attempts to explain what happened to his employer and the police, but his story sounds far-fetched. The con has made it appear that he has sold his Process to the Japanese. The Swiss bank account that Jimmy opened for him makes it look as though he is hiding assets, and the certificate he signed to join the club turns out to be a request for political asylum in Venezuela, which has no extradition treaty with the United States. The police show Joe that Jimmy's apartment is a mere façade and that the club's members-only room was nothing but a restaurant that was closed. Joe is also framed for the murder of his co-developer of the process, George Lang.

On the run, Joe reconnects with Susan, who says she believes his story and continues to express a romantic interest in him. Joe remembers that the hotel on the island maintains video surveillance, which could prove that Jimmy Dell was there. Susan takes him to the airport in order to fly to the island. On the way to the airport, Susan convinces him to drive to Boston (to elude a manhunt).

At the airport in Boston Susan gives Joe a camera bag, which unbeknownst to him contains a gun, and an airplane ticket to the island. Before passing through security, Joe realizes that Jimmy left his fingerprints on the original tennis book Joe was to deliver. He leaves the airport with Susan, still not realizing that she is working against him. They purchase ferry tickets to return home. While Susan leaves to call Mr Klein to inform him about the tennis book, Joe attempts to board the ferry with the plane ticket only to find out the ticket destination is actually Venezuela.

Once on board the ferry, Jimmy comes to kill Joe, seemingly alone except for Susan and a couple of Japanese tourists. The final step of this con is going to be Joe's death, made to appear as a suicide. Jimmy suddenly is hit with a tranquilizer dart shot by one of the tourists, who are actually US Marshals who have been monitoring Jimmy's con. They reveal that Joe's boss, Mr. Klein, was behind the entire con because he wanted to keep all the profits for himself. Jimmy and Susan are taken to jail.



David Mamet is famous for his dialogues, which are characterized by incomplete sentences, foul language, stutters, and interruptions; it is known as "Mamet-speak".[3][4][5][6][7]

Here, Roger Ebert observes, "His characters often speak as if they're wary of the world, afraid of being misquoted, reluctant to say what's on their minds: As a protective shield, they fall into precise legalisms, invoking old sayings as if they're magic charms. Often they punctuate their dialogue with four-letter words, but in The Spanish Prisoner there is not a single obscenity, and we picture Mamet with a proud grin on his face, collecting his very first PG rating".[8]

Andrew Sarris, meanwhile, wrote, "I liked The Spanish Prisoner because its very lightness in Mr. Mamet's mind as a minor genre entertainment enabled him to escape the pomposity and pretentiousness of recent Mamet movies and plays in which his cryptic phrases and ponderous pauses were supposed to suggest all sorts of psychic panic and moral havoc in a malignant society. By disdaining to look and sound like anything overly serious, Mr. Mamet's Pinteresque speech rhythms succeed as nothing since Glengarry Glen Ross (1984 on stage, 1992 on screen) in capturing something pervasively paranoid in contemporary life. ... To enjoy the twists and turns in Mr. Mamet's puzzle-like plot, one must remain detached from the nominal protagonist. This is accomplished by having the character share the faux-naïf speech rhythms and materialistic values of his employers and his business associates. ... Joe doesn't trust his boss, Klein (Ben Gazzara), who keeps reiterating that Joe has nothing to worry about, which in malicious Mamet-speak, means that Joe has a lot to worry about".[9]

Chris Grunden of Film Journal International adds, "David Mamet's new film features the writer-director's trademark staccato dialogue, but, as in his earlier House of Games, the film's stylized language (which can become wearying in some Mamet scripts) is matched with a confidence-scam plot that's almost dizzyingly complex, and is completely absorbing from start to finish".[10]


Roger Ebert awarded the film 3½ stars out of 4, calling it "delightful" and comparing it to works of Alfred Hitchcock.[11] James Berardinelli of, who gave the film 3 out of 4 stars, also compared Mamet's script to Hitchcock's works, claiming that it "supplies us with a seemingly-endless series of twists and turns, only a fraction of which are predictable" as well as praising the actors by saying that "nearly every major performance is impeccable".[12]

Chris Grunden of Film Journal International (comparing some points of the movie to Strangers on a Train and The Man Who Knew Too Much) wrote, "Somewhere Alfred Hitchcock is smiling, for The Spanish Prisoner is the most deliciously labyrinthine homage to the master of suspense in recent years... Campbell Scott elicits just the right amount of youthful vanity, which gradually crumbles as he gets increasingly entrapped in the scheme to play him for a fool. Martin's supremely cool, calculatingly menacing turn as the enigmatic Jimmy Dell neatly contrasts Scott's golden-boy image. The strong supporting cast features fine work... Barbara Tulliver's editing is crisp - the pacing never flags for a moment - and Carter Burwell's score is fabulously moody and evocative".[10]

Reviewer Paul Tatara, on the other hand, criticized the film for using well-worn plot mechanisms, "stiff characterizations and ridiculous line readings".[13]


  1. ^ a b "The Spanish Prisoner (1998) - Financial Information". The Numbers. Retrieved 23 February 2018.
  2. ^ "1999 Edgar Award Nominees". Archived from the original on 2007-09-07. Retrieved 2008-02-05.
  3. ^ Rubinstein, Mark (November 18, 2013). "Writer-to-Writer: A Conversation With David Mamet". The Huffington Post. Retrieved December 22, 2014. Your dialogue has been called street-smart and edgy. It's even called Mamet speak.
  4. ^ Toth, Paul A. (September 11, 2001). "David Mamet". Salon. Retrieved December 22, 2014. Mamet's machine-gun dialogue, both an Airplane!-style joke on noir and a pitch-perfect copy of every overconfident asshole you ever met, is so beautiful yet utilitarian it's like holding a well-made steak knife when there's nothing to cook. You just admire it. His dialogue is so singular that it's called Mamet-speak...
  5. ^ Seattle Repertory Theatre (2013). "Mamet Speak: Profane Poetry". Seattle Repertory Theatre. Retrieved December 22, 2014. Mamet's plays usually contain terse dialogue that is chock-full of profanity. At first it might seem as if anyone could master Mamet speak just by spewing curse words, but Zachary Simonson, who plays Bobby, pointed out that the language in American Buffalo is actually very precise and measured. "There's a term called 'profane poetry' which very well describes what's going on", he said. He explained that many lines are written in iambic pentameter, the same verse meter that Shakespeare used. These carefully crafted lines lend a rhythm to the dialogue that implies a variety of emotions as it fluctuates throughout the play.
  6. ^ D'Angelo, Mike (September 17, 2013). "The meticulously constructed film work of David Mamet". The Dissolve. Archived from the original on March 29, 2015. Retrieved December 22, 2014. To put it into Mamet-speak...
  7. ^ Italie, Hillel (August 17, 2010). "Mamet-speak: Eggs, Coffee, The Talking Walrus". Retrieved December 22, 2014.
  8. ^ Ebert, Roger (April 24, 1998). "Reviews: The Spanish Prisoner". Retrieved December 22, 2014.
  9. ^ Sarris, Andrew (April 6, 1998). "Mamet's Hero-Victim: A Prisoner of Words". The New York Observer. Retrieved December 22, 2014.
  10. ^ a b Grunden, Chris (1997). "Spanish Prisoner, The". Film Journal International. Retrieved December 22, 2014.
  11. ^ Ebert, Roger. "The Spanish Prisoner", Chicago Sun-Times, April 24, 1998. Accessed February 5, 2008.
  12. ^ Berardinelli, James. "The Spanish Prisoner",, 1998. Accessed July 1, 2010.
  13. ^ "Review: Stilted script traps actors in Spanish Prisoner", CNN, 1998-04-05

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