A list of films I haven't seen........
I should be ashamed of myself.
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.
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…
Up until a few hours ago, I had never seen a Michael Mann film before. What the hell is wrong with me?
"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…
james caan is the leading man we always needed but not the one we ever deserved.
one of the greatest directorial debuts of all time. What a genius Michael Mann is.
Is it any surprise that I loved this? I mean really. Neon lights, stateside nightlife, engaging conversations, Neo-noir, Michael fucking Mann, it makes perfect sense really. Mann helms the screen as if it was the latest addition to his filmography rather than his debut. If you wasn't familiar with Mann you would never know it was a first time effort. The only reason that you do is because you can see him trying out different styles, you see him trying to find his own signature. You get the sweeping angles and the moving landscape but it's missing the close and personal engaging hand held we are so used to seeing especially during his action. None of that takes away…
"I am the last man in the world you want to fuck with."
If Thief's reputation can be attributed to any one thing it's for reinforcing the notion that you should never mess with James Caan.
Michael Mann's film debut is a staggering staccato across pastel colored streets. His meticulous direction crafts an ambiance peeled straight from a graphic novel, allowing his cast to inhabit a universe that looks and feels more interesting than our own.
As someone who was previously uninitiated with Mann's works, consider me a convert.
Am I the only one who finds it hard to believe this is an 80s film? It fits so well with the "new wave" of the early 70s, especially the French Connection. The Michael Mann style is there, but nascent - the signature lighting, use of music and diegetic sound to subtly punctuate the emotional undertones of a scene...
At any rate, it's one of the best American crime films I've ever seen.
This review may contain spoilers. I can handle the truth.
Thief is the story of Frank, an ex-con now living as a used car salesman by day and a master of diamond heists by night. Seeing an opportunity to escape his life of crime and achieve his dream of settling down and starting a family Frank agrees to one final score.
Beautifully shot and scored, Thief showcases Mann's visual acumen at its very best. From the incredible cutting torch fireworks of the vault scene to the gorgeous rows of hanging lights at the confrontation at Frank's dealership, Mann's keen eye results in some of the most stunning eye candy in cinema.
The tale itself goes beyond a mere crime drama. Witnessing Frank patch together his ideal life only to see…
Michael Mann is in no hurry to tell the story here, so it unfolds at a somewhat leisurely stroll. The ending of Drive is pretty damn similar to the end of "Thief," but while Refn Winding is concerned with style and visuals (a visual style that is undoubtedly inspired by Mann) mostly, Mann indulgences in more character development for James Caan's character, though we never get too far into his tough veneer. Random Willie Nelson cameo for the win.
Visually stuning, awesome 80s soundtrack
Tinha tudo para ser um dos grandes filmes dos anos 80.
Mesmo com uma bela fotografia e uma ótima direção do Mann, 'Thief' se perde num roteiro preguiçoso e cansativo.
Individualmente, cada cena surpreende. Porém, como um todo, o filme não consegue criar a atmosfera necessária para a trama.
Literalmente, a sensação que tive foi de ver cenas, e não um filme completo.
A list of films I haven't seen........
I should be ashamed of myself.
This is what happens when your car breaks down on a Sunday morning and you have nothing else to do…
preferably more than one scene
feel free to suggest more