| Photos (see all 8 | slideshow) |
| Lindsay Crouse | ... | Margaret Ford | |
| Joe Mantegna | ... | Mike | |
| Mike Nussbaum | ... | Joey | |
| Lilia Skala | ... | Dr. Littauer | |
| J.T. Walsh | ... | The businessman | |
| Willo Hausman | ... | Girl with book | |
| Karen Kohlhaas | ... | Prison ward patient | |
| Steven Goldstein | ... | Billy Hahn | |
| Jack Wallace | ... | Bartender, House of Games | |
| Ricky Jay | ... | George / Vegas Man | |
| G. Roy Levin | ... | Poker player | |
| Bob Lumbra | ... | Poker player | |
| Andy Potok | ... | Poker player | |
| Allen Soule | ... | Poker player | |
| Ben Blakeman | ... | Bartender, Charlie's Tavern | |
| Scott Zigler | ... | Western Union clerk | |
| William H. Macy | ... | Sgt. Moran (as W.H. Macy) | |
| John Pritchett | ... | Hotel desk clerk | |
| Meshach Taylor | ... | Mr. Dean | |
| Johnny 'Sugarbear' Willis | ... | Hotel doorman (as Sugarbear Willis) | |
| Josh Conescu | ... | Garage attendant | |
| Julie Mendenhall | ... | Late student | |
| Rachel Cline | ... | Student | |
| Patricia Wolff | ... | Patient / Ford's office | |
| Paul Walsh | ... | Man in restaurant | |
| Roberta Maguire | ... | Restaurant hostess | |
| Jacqueline de La Chaume | ... | Woman with lighter |
Directed by | |||
| David Mamet | |||
Writing credits | ||
| Jonathan Katz | (story) & | |
| David Mamet | (story) | |
| David Mamet | (screenplay) | |
Produced by | |||
| Michael Hausman | .... | producer | |
Original Music by | |||
| Alaric Jans | |||
Cinematography by | |||
| Juan Ruiz Anchía | |||
Film Editing by | |||
| Trudy Ship | |||
Casting by | |||
| Cyrena Hausman | |||
Production Design by | |||
| Michael Merritt | |||
Set Decoration by | |||
| Derek R. Hill | (as Derek Hill) | ||
Costume Design by | |||
| Nan Cibula | |||
Makeup Department | |||
| Laurent Delouya | .... | hair stylist: Mr. Mantegna | |
| Erin Lyons | .... | hair stylist | |
| Gregory Villamil | .... | hair stylist: Miss Crouse | |
| Pamela S. Westmore | .... | makeup artist (as Pamela Westmore) | |
Production Management | |||
| Lee R. Mayes | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Ned Dowd | .... | first assistant director | |
| Michael Hausman | .... | second assistant director | |
Art Department | |||
| Jeff Balsmeyer | .... | storyboard artist (as Jeffrey Balsmeyer) | |
| Valerie Ross | .... | property assistant | |
| Samara Schaffer | .... | property master | |
| J. Grey Smith | .... | lead man | |
| Jeffrey P. Soderberg | .... | set dresser (as Jeff Soderberg) | |
Sound Department | |||
| Douglas Axtell | .... | boom operator | |
| Suki Buchman | .... | assistant sound editor (as Susan Buchman) | |
| Anthony J. Ciccolini III | .... | supervising sound editor | |
| Marko A. Costanzo | .... | foley artist | |
| Pam DeMetruis-Thomas | .... | assistant sound editor (as Pam DeMetruis) | |
| Kathleen Earle Killeen | .... | assistant sound editor (as Kathy Killeen) | |
| Thomas A. Gulino | .... | sound editor | |
| John Pritchett | .... | sound mixer | |
| John Pritchett | .... | sound | |
| Marc S. Shaw | .... | adr editor | |
| Gail Showalter | .... | assistant sound editor | |
| Jeffrey Stern | .... | sound editor | |
| Jacqueline Tager | .... | assistant sound editor (as Jacqui Tager) | |
| Dick Vorisek | .... | sound re-recording supervisor | |
Special Effects by | |||
| Robert G. Willard | .... | special effects (as Robert Willard) | |
Camera and Electrical Department | |||
| Michael F. Barrow | .... | gaffer (as Michael Barrow) | |
| Michael F. Barrow | .... | grip equipment | |
| Michael F. Barrow | .... | lighting equipment | |
| Martin Bosworth | .... | grip (as Marty Bosworth) | |
| Chris Centrella | .... | key dolly grip | |
| Henry Cline | .... | second assistant camera | |
| Geoffrey Coburn | .... | electrician | |
| Robert Diehl | .... | electrician | |
| Bill Flick | .... | grip | |
| Lars Larson | .... | grip | |
| Mark Lorge | .... | electrician | |
| Hugh McCallum | .... | best boy grip | |
| Robert McClure | .... | electrician | |
| John Merriman | .... | best boy electric | |
| George Mooradian | .... | first assistant camera | |
| Lorey Sebastian | .... | still photographer | |
| Michael Sudmeier | .... | electrician | |
| Greg White-Wiegand | .... | electrician | |
| Quintin Woo | .... | electrician | |
Costume and Wardrobe Department | |||
| Candace Blake | .... | wardrobe assistant | |
| Dawn Johnson | .... | costumer | |
| Sally Roberts | .... | wardrobe assistant | |
| Sally Roberts | .... | assistant costume designer (uncredited) | |
Editorial Department | |||
| Peter B. Ellis | .... | apprentice editor | |
| K.F. Ligammari | .... | apprentice editor | |
| Colleen Sharp | .... | apprentice editor | |
| Barbara Tulliver | .... | assistant editor | |
Music Department | |||
| Warren Bernhardt | .... | musician: piano solom, "Fugue From the Toccata in C Minor" | |
| Suzana Peric | .... | music editor | |
Transportation Department | |||
| Gregory W. Anderson | .... | driver (as Gregory Anderson) | |
| Jerry Jackson | .... | transportation coordinator | |
| Jon McCarthy | .... | driver (as Jon R. McCarthy) | |
| David Milchen | .... | driver captain | |
Other crew | |||
| Alexa Albert | .... | production assistant | |
| Rachel Cline | .... | assistant to producer | |
| Liz Dixon | .... | coach | |
| Liz Dixon | .... | consultant | |
| Peter Hutcheson | .... | production assistant | |
| Kevin Hyman | .... | production accountant | |
| Ricky Jay | .... | consultant: confidence games | |
| Richard Lorenzana | .... | financial representative | |
| Ron Lynch | .... | location manager | |
| Susan McBrine | .... | caterer (as Susan MacBrine) | |
| Ivan Passer Jr. | .... | production assistant | |
| P.J. Pettiette | .... | dailies courier | |
| Deborah Pritchett | .... | production office coordinator | |
| Cathy Sarkowsky | .... | production office coordinator | |
| Sheila Thompson | .... | craft service | |
| Lynn Wegenka | .... | key production assistant | |
| Christine Wilson | .... | script supervisor | |
| Patricia Wolff | .... | production assistant | |
| Scott Zigler | .... | production assistant | |
| Randall Balsmeyer | .... | title designer (uncredited) | |
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| Lock, Stock and Two Smoking Barrels | The Galloping Ghost | The Big Lebowski | A Big Hand for the Little Lady | Ocean's Eleven |
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| Full cast and crew | Company credits | External reviews |
| IMDb Crime section | IMDb USA section | Add this title to MyMovies |
`The United States of Kiss My Ass'
House of Games is the directional debut from playwright David Mamet and it is an effective and at times surprising psychological thriller. It stars Lindsay Crouse as best-selling psychiatrist, Margaret Ford, who decides to confront the gambler who has driven one of her patients to contemplate suicide. In doing so she leaves the safety and comfort of her somewhat ordinary life behind and travels `downtown' to visit the lowlife place, House of Games.
The gambler Mike (played excellently by Joe Mantegna) turns out to be somewhat sharp and shifty. He offers Crouse's character a deal, if she is willing to sit with him at a game, a big money game in the backroom, he'll cancel the patients debts. The card game ensues and soon the psychiatrist and the gambler are seen to be in a familiar line of work (gaining the trust of others) and a fascinating relationship begins. What makes House of Games interesting and an essential view for any film fan is the constant guessing of who is in control, is it the psychiatrist or the con-man or is it the well-known man of great bluffs David Mamet.
In House of Games the direction is dull and most of the times flat and uninspiring, however in every David Mamet film it is the story which is central to the whole proceedings, not the direction. In House of Games this shines through in part thanks to the superb performances from the two leads (showy and distracting) but mainly as is the case with much of Mamet's work, it is the dialogue, which grips you and slowly draws you into the film. No one in the House of Games says what they mean and conversations become battlegrounds and war of words. Everyone bluffs and double bluffs, which is reminiscent of a poker games natural order. This is a running theme throughout the film and is used to great effect at the right moments to create vast amounts of tension. House of Games can also be viewed as a `class-war' division movie. With Lindsay Crouse we have the middle-class, well-to-do educated psychiatrist and Joe Mantegna is the complete opposite, the working class of America earning a living by `honest' crime.
The film seduces the viewer much like Crouse is seduced by Mantegna and the end result is ultimately a very satisfying piece of American cinema. And the final of the film is definitely something for all to see and watch out for, it's stunning.
An extremely enjoyable film experience that is worth repeated viewings. 9/10