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Michael Mann directs James Caan as a professional safecracker named Frank, who specializes in high-profile diamond heists. Frank plans to use his ill-gotten income to retire from crime and build a nice life for himself complete with a home, wife and kids. To accelerate this process, he signs on with a top gangster (Robert Prosky) for a big score. But when Frank tries to quit the job, the mob comes after him and his girlfriend (Tuesday Weld).
Thief reminds me of Drive.
I love Drive. And I love Thief too.
I love the quiet Ryan Gosling; and I love the aggressive James Caan.
I love the driver who has a specific set of rules; and I love Frank who lives by his own principles.
I love the silence and serenity between Gosling and Mulligan; and I love Caan's avalanche of conversation with Weld.
I love the driver's trucker jacket; and I love Frank's leather jacket.
I love Cliff Martinez's synth soundtrack, and I love Tangerine Dream's 80's score.
I love the neon-lit night sky in Los Angeles; and I love the neon-lit night sky in Chicago.
I love Nicholas Winding Refn, and most naturally, I love the great Michael Mann.
Two equally amazing films, 30 years apart.
"I am the last guy in the world that you wanna fuck with."
Noir-vember film #6
Scott Caan's dad in Michael Mann's debut film as the last guy in the world you want to fuck with. Getting your point across. A pot-head jailbird who can't wait to get on the road again. A soulful house-band. The Belushi no one gives a fuck about. A fat-fuck mob boss who talks way too much shit. Dirty cops. Courtroom shenanigans. Front-porch adoptions. Police brutality. A Melville-esque heist. A fun day at the beach. Not playing by the rules. Tuesday's gone with the wind. Blowing every last mutha fuckin thing up. Taking out the trash G.T.A style. Mann's debut fuckin owns.
You can pretend nothing means nothing and try and go your own way, but if you want to make it in this country, you gotta serve somebody.
Driving home from the mindblowing 35mm screening the streetlights and neon looked brighter, more meaningful. Tonight I'll dream about tools and really specific lingo. Total Mannsterpiece.
Up until a few hours ago, I had never seen a Michael Mann film before. What the hell is wrong with me?
Watching Thief for the (probably) 50th time is just as rewarding and awe-inspiring as the first watch. Mann's masterpiece of rainy Chicago streets, neon lights and slowly escalating tension is something to behold. I am listening to Tangerine Dream's incredible score as I write this review for Thief, trying to put into words my complete and utter adoration for this magnificent piece of work.
The Awesome: Simultaneously a masterful character study and neo-noir, Mann is at his peak here; juggling both the style and substance with wonderful agility. Mann knows when to focus on the characters, or when to showcase a stunning shot of a car-hood, reflecting neon lights on a rainy night. It's that balance that makes the film…
"You're marking time is what you are. You're backing off. You're hiding out. You're waiting for a bus that you hope never comes because you don't wanna get on it anyway because you don't wanna go anywhere."
Four reasons I love Thief:
1. Michael Mann. This is his first feature film, and young Mann was a director full of ideas and images. Here he explores the nature of humanity and male identity through the neon-lit night life of Chicago. But most of all he knows action, and he knows how to choreograph a scene without exposition and give it an incredible sense of immediacy and authenticity. There are no "props" in Thief because all the tools used by Frank are…
I watched this on Region B Blu Ray.
The transfer as always by Arrow Video is sublime. What an achievement to clear and restore Michael Mann's first picture. The quality of image is beyond amazing, the tones and colours are terrific. The soundtrack is strong throughout.
I'm a huge fan of Michael Mann, I've seen all of his big hitters such as Heat and The Insider but I haven't caught his smaller films such as The Keep. I've never watched Thief or The Keep because I'm all honesty I didn't know he had directed them, especially the latter. Thief was always a film I knew existed but just never got round to actually watching it. I made myself watch all…
Frank (James Caan) is a master safe cracker who also owns an automobile dealership as a front to prove hes a legit businessman. His years of taking scores and past imprisonment have turned him into someone who doesn’t have time to waste on the bullshit thrown his way. We can see this in how he moves back and forth with swift, precise actions from his criminal life to his straight job with a calm, collected attitude.
After his latest job stealing some expensive rocks, Frank goes to collect his pay but learns its been lifted from his fence who was killed in a holdup. He soon finds out who is in possession of the loot and confronts Mr. Attaglia (Tom…
Ok, I get the "Drive" thing
In December 2013 I went to a screening of Thief, and, I swear I didn't know before, as I walked up the marquis said 'Michael Mann in person.' In the q&a I asked - and I qualify again, because I've only asked a q&a question one other time I can remember and I doubt I'll rewatch that film, so this will be the only such anecdote - Michael Mann based on James Caan's magazine cutout which he says represents his life in Thief and Jamie Fox's similar postcard dream in Collateral, if Mann ever had one, and he said "maybe a mental one," charmed.
An otherwise clever heist movie is ruined by an awkward subplot and annoyingly overbearing soundtrack.
Early Michael Mann production set in Chicago. A tense, enthralling crime drama with some of Mann's amazing blend of the soundtrack with the movie action. Some shooting techniques were later used on "Miami Vice" but "Thief" did them 1st. And better.
Wahrscheinlich mein Lieblingsfilm von Michael Mann. Machismo und Kriminalität als harte Arbeit, eingefangen in atemberaubenden Bildern und eingebettet in einen treibend-sinnlichen Score. James Caans Zigarette danach ist ein Kinomoment, den man festhalten und nie mehr loslassen möchte.
The neon lights, the emotional stylishness and the beauty of sparks and steel come together harmoniously in this city of endless rain where the synthesizer music of Tangerine Dream reigns supreme and truly emphasizes the nature of thievery. One of Mann's best.
A strikingly visceral, cuttingly personal, beautifully kinetic treatise on America.
Complete list. :-(