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…
-Number representative of said film's ranking on my IMDb list-
James Caan is rock solid here, Mann's direction is flawless and it had just the right amount of action and character focus, extremely well done.
I felt like this was Heat split in half, Caan was half of Pacino's character, half of De Niro's character. The film had half the action and half the amount of long lens shots. Now that's not a bad thing at all, it felt a bit like a neo-noir/ character study, lingering on the frantic psyche of Frank.
A badass ending.
Don't fuck with James Caan.
A great debut from Michael Mann, with some amazing cinematography; compared to his later work he has gone on to make more masterpieces, but I feel this is his best looking film - it's interesting how he re-used/re-shot similar scenes in "Heat" from this like the coffee scene, and the car sales site, which looks literally the same place where Neil goes to kill Waingro around the films start.
James Caan gives a really great lead performance too, definitely in his top three definitive work next to "The Godfather" and "Misery", he's a very underrated actor. Personally I didn't like the techno '80s score, but Mighty Joe Young playing "Turning Point" song in that blues club was brilliant. Overall a great film.
A legit incredible Scott Caan performance (he somehow finds real emotion in what is purposefully written as a cold man), a kick ass Tangerine Dream score, and Michael Mann's muscular direction all drive this film to a place of pure cool. The only thing that really dragged it down for me, weirdly, were the actual heists, which I thought slowed the film down to a crawl.
This review may contain spoilers. I can handle the truth.
Now this is a film with some style! The cinematography is simply excellent, and the score by Tangerine Dream is amazing! James Caan gives a really good performance as the thief who gets everything he ever wanted and then has to give it up.
A great film, from the opening scene you know what your getting into. Thief is a masterfully crafted action film from one of the greats, Michael Mann.
Caan is watchable as ever, the plot is a slow burn but doesn't bore, looks gorgeous and the score is great.
"The soundtrack was also nominated for Worst Musical Score at the 2nd Golden Raspberry Awards."
Originally a list made prior to Cannes 2014, now updated every mid-April.
This is every Palme d'Or nominee since the…