Tales of the trickster, or conman, are almost as old as literature itself. The unflagging popularity of the genre is demonstrated by the frequent revivals of classics like Tartuffe and the endless remakes of Patricia Highsmith's The Talented Mr. Ripley. However, the popularity of such fare depends on at least two components: the question of whether the trick will succeed while the trickster adapts to unforeseen circumstances and the issue of who is really being tricked. The audience's pleasure comes from watching the conman adapt to what seem near disastrous impediments to his plans, and in more recent examples, from trying to solve the puzzle of who is really being conned. On this level, the problem with House of Games is that adaptor, Richard Bean, too often telegraphs what is going to happen, robbing the piece of its necessary suspense and undermining the audience's need to puzzle out who is actually manipulating whom. Lisa Dillon as Margaret, the psychiatrist whose patient has a gambling problem, and Richard Harrington as Mike, the gambler to whom the patient is indebted both put in strong performances, and they are well supported by the rest of the cast. However, it is Oscar Lloyd, as the spoilt, abusive young gambling addict, the instigator of the long con who puts in the most memorable performance. What didn't always work were the actors' American accents, and the uneasy shifting between what is David Mamet's signature mannered style of presenting characters and the more naturalistic notes in the various interactions. Nevertheless, such caveats aside, House of Games is a largely satisfying example of a genre that never loses its appeal.
Rated: ★★★
Reviewed by J.C.
Photo by Manuel Harlan
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