This is what happens when your car breaks down on a Sunday morning and you have nothing else to do…
Tonight, his take home pay is $410,000...tax free.
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…
Looked cool, felt cool, sounded cool. James Caan is so cool. This had a great vibe to it, and I was totally blindsided at how sad it made me. It'd be amazing to see a screening of this someday. It's got an incredible score, too!
A bridge between the neo-noir narratives of the 70's with the gorgeous neon style of the 80's. A clear blueprint for Grand Theft Auto V & Drive, Thief features a great soundtrack by Tangerine Dream, beautiful night shots, and a solid story about one last job.
Michael Mann started his film career later than most. He was nearing his 40s when Thief premiered in 1981. I bring this up because this doesn't seem like it's a debut feature by a filmmaker. One of the greatest things about Thief is that it's almost an unidentifiable feature film debut. Thief is such a well developed piece of Neo-Noir.
Mann makes his home look beautiful. The night scenes in Chicago look breathtaking. That's something everyone can praise about Mann's films; they usually look great and Thief is no exception. Although I kinda miss the handheld documentary style of his later films. I always enjoyed seeing that kind of aspect put forth in a Mann film, but I'm not going…
There is something between me and neon lights that I can't seem to know why I like it so much??
PS- Blade Runner is my all time favourite movie..
I came into Thief blindly as a recommendation from a friend (Thanks, Blain). So I bought the Criterion Collection Blu-ray edition, and after sitting on my shelf for a few months, finally got to it.
From Thief's incredible framing, bad ass score, and great story telling, It is a timeless masterpiece that keeps you hooked beginning to end. And just when you think it's over, it hooks you right back in for even more for a most epic conclusion.
Seeing this great film about 35 years late, it has definitely aged well.
In fact it clearly helped shape the modern day Con/Heist film genre to what it is today.. well, the good ones at least.
Being about 30 years apart, Thief compares to Refn's DRIVE which I was also a huge fan of. Except to quote Thief, "I'll be your father". Or something like that.
Thief rocks. And the more I keeping thinking about it, the more it rocks.
So that was one of the best plane rides ever (Saw it on a flight from Switzerland to Beirut along with The Master)
"I'm the last guy in the world you wanna fuck with."
Alternatives to Sight and Sound's Top 250 Films of All Time list named by /r/truefilm's community. With notes. Inspired by…
preferably more than one scene
feel free to suggest more