Abstract
Abstract Drawing on the David Mamet papers, the present article takes issue with Vincent Canby’s critique of Homicide (Mamet, 1991) and argues that it successfully revalorizes the popular film genre of the thriller by reconceiving it as a tragedy. While the major sources of inspiration are shown to be classical and neo-classical models thematically revolving around the myth of the Minotaur and structurally relying on confessions, parallels with the metaphysical and analytic detective story are also detected, apart from the influence of Martha Graham’s choreographies on the Minotaur in which Mamet’s former dance teacher, Mark Ryder, co-starred. Insofar as these diverse influences were partly mediated by Joseph Campbell, his writings on myth and his posthumous reputation are here reconsidered. Ultimately, Homicide’s demonstrable infusion of myth and tragedy into the filmic genre of the thriller should be seen as further evidence of the ongoing cross-generic dynamic within David Mamet’s creative output.
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