Henry Johnson Review: The Abyss Gazes Back in David Mamet’s Compelling Prison Drama

      The abyss looks back at you—that's the overwhelming sensation evoked by David Mamet's latest film, Henry Johnson. Adapted from his 2023 play of the same name, one might have thoughts about the political implications of the narrative, especially considering the timing and Mamet's recent public image. As you watch the film, it becomes evident that we can reach some form of understanding with those who hold opposing views.

      Henry Johnson is structured around essentially four scenes set in three locations, with its theatrical roots evident but never distracting. Evan Jonigkeit, Mamet's son-in-law, plays the title role and, donning similar glasses, provides a glimpse of the tough persona often associated with the world of theater. Throughout the film, Henry faces three significant confrontations: with his boss (Chris Bauer), a cellmate (Shia LaBeouf), and a prison guard (Dominic Hoffman).

      The film opens with an increasingly tense exchange between Henry and his boss, who accuses him of being "groomed" (not in a sexual context) by a scheming college friend, leading to revelations such as Henry's embezzlement of funds from his job. This sets the stage for Henry’s weak character to unfold further. While adhering to societal expectations doesn’t guarantee a fulfilling life, Henry ultimately represents a spineless individual navigating a seemingly successful American life. Upon landing in jail, he encounters another mentor who sees through his facade.

      The prison cell, a memorable and philosophically rich setting borrowed from Mamet's play Edmond, serves as a compelling backdrop for the film, initiating the slow dismantling of any superficiality. The stark grey concrete where Henry and his cellmate Gene meet, characterized by sharp dialogue and silence, shapes the narrative. This scene and its variations suggest an overdetermined structure, yet still convey a chilling effect by the conclusion. The press materials indicate that Mamet aimed to avoid a superfluously “cinematic” adaptation, but early careful compositions and close-ups lend a unique quality; the jarring pauses between scenes amplify the sense of hopelessness, illustrating the intersection of theater and film effectively.

      The four strong performances enhance the film’s impact, with LaBeouf’s portrayal standing out. As Gene, a troubled figure, his expressive movements contrast sharply with his weary eyes. Although LaBeouf’s offscreen persona adds extra resonance, it does so without diminishing the performance. Jonigkeit, while less flamboyant, serves as a neutral character for the others to engage with, meeting the role without missing a beat, allowing both fellow characters and the audience to project their philosophical reflections onto him.

      Given Mamet's deep engagement with language and ideas, it's crucial to see him as the principal artist behind this film. His pessimism may not come as a shock to viewers, nor might they disagree with interpretations of self-interest and a perceived lack of compassion towards others. The sense of moral stagnation is unmistakable; its weight is palpable.

      Henry Johnson opens in theaters and will be available for rental starting Friday, May 9.