This movie is awake. I have seen so many films that were sleepwalking through the debris of old plots and second-hand ideas that it was a constant pleasure to watch House of Games, a movie about con men that succeeds not only in conning the audience, but also in creating a series of characters who seem imprisoned by the need to con, or be conned.

His meticulous, largely self-taught directing style—dazzlingly showcased in House of Games, a master class in dramatically functional compositions and camera moves—should be mandatory viewing for any would-be filmmaker.

The clipped tough-guy language, Juan Ruiz Anchía's rich chiaroscuro lighting, the layers of "short cons" and larger deceptions—they're all elements of a genre whose time had passed, but that Mamet was able to revive with effortless aplomb.

Though House of Games is not of the dramatic heft of the playwright's ''American Buffalo'' and ''Glengarry Glen Ross,'' the screenplay is the first true Mamet work to reach the screen, and the direction illuminates it at every turn. Both Miss Crouse and Mr. Mantegna and the supporting actors, including Mike Nussbaum, J. T. Walsh and Steve Goldstein, are splendidly in touch, not only with character but also with the sense of the film.

Mamet has created a suspenseful, psychologically complex film that constantly plays tricks on the viewer as it draws him into its milieu of insightful deceit.