By Arthur Holmberg
Utilizing insights from psychology, sociology, anthropology, and the background of sexuality, Holmberg explores the anomaly that drives male bonding. own interviews with Mamet and with the actors who've interpreted his significant roles make clear how and why males bond with one another and supplement shut research of Mamet's texts.
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Additional info for David Mamet and Male Friendship: Buddy Plays and Buddy Films
2b). Gold holds Sully’s head against his chest, tries to stanch the blood, and cries. Sully rubs Gold’s arm. Their faces almost touch. Gold, like David in Wings, has every reason to feel guilt. Inadvertently, he caused his buddy’s death. Sully, rambling incoherently, talks about the job. Hold on” (116). The sorrow on Gold’s face and the tenderness of his touch make words superfluous. I’m going to kill you” (117). ’ ” Joan Mellen goes further. She sees homoerotic surfaces and subtexts rippling throughout buddy films.
But whereas the first climax was motivated primarily by Teach’s frustration at thinking Bob had foiled the caper; the second, primarily by his jealousy of Bobby. The tenderness Don lavishes on Bobby shows Teach who is the favored son. 2). Adding injury to insult, Don blames Teach for the fiasco and wants to kick him out: DON: You have lamed this up real good. TEACH: I did. DON: Real good. . DON: Get out of here. TEACH: “Get out of here”? And now you throw me out like trash? I’m doing this for you.
Don picks up phone. (49–52) Power is never stable, and as the power dynamic shifts, Teach switches linguistic strategies. He begins by asking a question about the value of the buffalo nickel (“the date, so on”). Whoever asks a question assumes the authority to ask it. A drunken driver caught for speeding does not ask a police officer for the officer’s date of birth. Teach arrogates to himself the authority to query Don. But Don cannot answer, blowing his façade of knowledge. ”), a linguistic gambit that claims power.