David O'ConnellMichael Mann's Thief
October 9th 2008 03:20
Michael Mann’s 1981 heist drama has style to burn, typical of the director and his penchant for unique visuals and endearingly strange musical accompaniment.
Thief, starring James Caan as Frank, the crim of the title, is a fascinating early landmark in Mann’s career; it was his first major cinematic release and even without the precision of execution seen in his recent work, it still carries all the early signatures his admirers have come to admire.
Though technically an 80’s film it feels like a carryover from the previous glorious decade of American cinema with its stark, gritty story – hardly an original one, certainly, but carried off with such conviction that it becomes a compelling experience by the end.
Frank has spent a lot of time in jail but with a new relationship blooming with waitress Jessie (Tuesday Weld) he’d ideally prefer to settle down if financial security can be arranged. He works as a freelancer, self-employed, with an able right-hand man in Barry (James Belushi), and with a job as a car salesman by day as a front.
After complications ensue from his latest job however, when the man carrying his money ends up dead, he finds himself confronting the temptations offered by underworld kingpin Leo (Robert Prosky).
Frank decides to seize the opportunity offered, claiming a stake in one last massive job with a large haul guaranteed, before hoping to ride off into the sunset with his lady and a life of luxury and financial security in waiting.
As expected not everything goes to plan however as Frank discovers, the job behind them, it’s a lot more difficult than you imagine to extricate yourself from under the thumb of the man who is pulling all the strings. The consequences for both sides, trying to assert their primal dominance, will be bloody.
Caan makes Frank into a rough but charismatic anti-hero, a belligerent and dangerous man to those who get in his way. There were some mannerisms about his performance that annoyed me at first but I was beginning to turn by the film’s end.
Tuesday Weld is excellent as the tough but vulnerable Jessie, whilst Prosky shines in an unusual role for him. Belushi is fair support but given little to work with whilst Willie Nelson has a couple of good scenes as Frank’s dying mentor in prison.
Mann’s screenplay, based on a book by Frank Hohimer, feels slightly undisciplined and random, rough around the edges at times, but I like its hard edge and he fashions a handful of classic moments - especially the interplay between Frank and the cops on his tail, a series of scenes that comes to a head in a brutal but humourous interview room beating.
Visually the film is superb, the highlights being the night-time scenes on slick wet Chicago streets which dominate the action, the empty urban darkness lit starkly by the slowly saturating neon. His point of view shots give certain scenes a resolute immediacy.
Mann’s musical sensibilities have always been a reflection of his peculiar subjectivity and Thief is no exception. Here he employed synthesizer band Tangerine Dream, who were popular for a few years at that time amongst filmmakers, to overlay long scenes with their dreamy, though simplistic, ambient soundscapes; it’s not something I’d listen to on CD but it has an hypnotic impact and works to great effect at times – though not when actual themes are called for, as for a family life montage towards the end when their approach dates the music badly. The last scene of the film too, with electric guitars introduced, sounds like it was scored by Pink Floyd!
Thief is a wonderful early effort from the director; though I think he’s surpassed it a few times since, I love the stylish, noirish texture of the film and the era it comes from, so anyone looking for a nostalgic filmic experience or who is a recent Michael Mann convert will find this a mostly compelling and exhilarating ride.
* many thanks to Orble’s own John Doe, this film’s number one fan, for bringing it to my attention!
The trailer:
Thief, starring James Caan as Frank, the crim of the title, is a fascinating early landmark in Mann’s career; it was his first major cinematic release and even without the precision of execution seen in his recent work, it still carries all the early signatures his admirers have come to admire.
Though technically an 80’s film it feels like a carryover from the previous glorious decade of American cinema with its stark, gritty story – hardly an original one, certainly, but carried off with such conviction that it becomes a compelling experience by the end.
Frank has spent a lot of time in jail but with a new relationship blooming with waitress Jessie (Tuesday Weld) he’d ideally prefer to settle down if financial security can be arranged. He works as a freelancer, self-employed, with an able right-hand man in Barry (James Belushi), and with a job as a car salesman by day as a front.
After complications ensue from his latest job however, when the man carrying his money ends up dead, he finds himself confronting the temptations offered by underworld kingpin Leo (Robert Prosky).
Frank decides to seize the opportunity offered, claiming a stake in one last massive job with a large haul guaranteed, before hoping to ride off into the sunset with his lady and a life of luxury and financial security in waiting.
Frank in safe-cracking mode
As expected not everything goes to plan however as Frank discovers, the job behind them, it’s a lot more difficult than you imagine to extricate yourself from under the thumb of the man who is pulling all the strings. The consequences for both sides, trying to assert their primal dominance, will be bloody.
Caan makes Frank into a rough but charismatic anti-hero, a belligerent and dangerous man to those who get in his way. There were some mannerisms about his performance that annoyed me at first but I was beginning to turn by the film’s end.
Tuesday Weld is excellent as the tough but vulnerable Jessie, whilst Prosky shines in an unusual role for him. Belushi is fair support but given little to work with whilst Willie Nelson has a couple of good scenes as Frank’s dying mentor in prison.
Frank in a diner with his new love Jessie (Tuesday Weld)
Mann’s screenplay, based on a book by Frank Hohimer, feels slightly undisciplined and random, rough around the edges at times, but I like its hard edge and he fashions a handful of classic moments - especially the interplay between Frank and the cops on his tail, a series of scenes that comes to a head in a brutal but humourous interview room beating.
Visually the film is superb, the highlights being the night-time scenes on slick wet Chicago streets which dominate the action, the empty urban darkness lit starkly by the slowly saturating neon. His point of view shots give certain scenes a resolute immediacy.
Director Michael Mann
Mann’s musical sensibilities have always been a reflection of his peculiar subjectivity and Thief is no exception. Here he employed synthesizer band Tangerine Dream, who were popular for a few years at that time amongst filmmakers, to overlay long scenes with their dreamy, though simplistic, ambient soundscapes; it’s not something I’d listen to on CD but it has an hypnotic impact and works to great effect at times – though not when actual themes are called for, as for a family life montage towards the end when their approach dates the music badly. The last scene of the film too, with electric guitars introduced, sounds like it was scored by Pink Floyd!
Thief is a wonderful early effort from the director; though I think he’s surpassed it a few times since, I love the stylish, noirish texture of the film and the era it comes from, so anyone looking for a nostalgic filmic experience or who is a recent Michael Mann convert will find this a mostly compelling and exhilarating ride.
* many thanks to Orble’s own John Doe, this film’s number one fan, for bringing it to my attention!
The trailer:
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Comment by Damo
It is excellent.
The safe cracking scene is very authentic.
My father was a safe specialist.
Comment by David O'Connell
Screen Fanatic
A lot of the Tangerine Dream scores were very effective back in those days - those ambient synth drones can be quite haunting for some reason. A lot of guys who were in the band at various stages have gone on to solo work as film composers as well in recent years, though none of them have written any particularly memorable music.