Mann's Night of "Fates Intertwined"

Since it was announced this month that Michael Mann's 2004 film, Collateral, was coming out in Blu-ray Disc on March 30th, I thought that I'd resurrect (and update) an old review of it I wrote 5 years ago. It also seemed nice timing since the events in the film occur over one January night in L.A. BTW, I happen to really hate Paramount's bad Photoshop re-do for the BD's cover art (see below after the break). What were they thinking!.

---

When a master of any particular genre returns to it, it's usually to the satisfaction of the fans of that maestro or the genre. Thankfully, such is the case here with the 2004 film, Collateral. With director Michael Mann returning to Los Angeles with another crime thriller, using a fine script by writer Stuart Beattie, it's the fans of both the director and the genre who reap the benefits. As well, Mann-aficionados will appreciate him coming back to this familiar tuft without attempting what is now the movie studios' brain dead pastime: re-making successful original work. Luckily, this is not a regurgitation of his great 1995 ensemble saga, Heat. Collateral brings a more intimate, confrontational drama to bare, played out across the nocturnal expanse of ethnically diverse L.A. Whereas Heat had two groups, the criminals and the police, directly facing off. Here, law enforcement is on the sidelines... always a step behind and waiting to pick up the pieces of this two man conflict. And when one sharp street detective starts putting the puzzle together, the director unleashes one surprising masterstroke scene that quickly tells the audience he's not going to repeat himself.

The rest of this post has been updated and moved over to my current blog, found here.

Thief - That Toddlin' Town

Lately, it seems I'm in a Chicago frame of mind. And even though I have relatives there, I've never been there in my entire life. [note to self: must fix that some day] This is likely due my current enjoyment of author Sean Chercover's debut novel, Big City Bad Blood (finally available in audio form--more on that after I'm done with it). However, that one novel is not the sole impetus. Right before this, I had just finished Jason Kerten's very good true story work, The Art of Making Money: The Story of a Master Counterfeiter, and Eric Larson's wonderful (and also non-fiction) The Devil in the White City from a couple of months back. So you see, The Second City is occupying some space in the front of my mind. And if you're counting, the Chercover and Larson books came by way of blogger Corey Wilde's recommendations. [your thanks is in the mail, you ol' Buckeye].

Add to this, one of my favorite directors came out this summer with another of his fine films, Public Enemies. Besides being its own distinct character in these literary and film works, Chicago is also the birthplace of said filmmaker, Michael Mann. So in honor of him and Chi-town, I'm resurrecting and dusting off a review of mine for Mann's inaugural film (and where again, the city of big shoulders is more than just a location). I hope you enjoy.

---

(dictionary definition)

thief |θēf|
noun ( pl. thieves |θēvz| )
a person who steals another person's property, esp. by stealth and without using force or violence.

For a major theatrical motion picture, director Michael Mann could not have asked for a better one in a movie debut. The year was 1981 when he brought us the spellbinding film, Thief, starring James Cann. And, it has always been a favorite of Mann afficionados (include me in that group), and a foretelling of things to come. Not only did this signal the arrival of a talented director-writer-producer, it changed the look, feel, and texture of the crime drama genre from that point forward. And though it's approaching the 30 year mark, it remains an enthralling examination of a world few had explored as thoroughly as this new filmmaker. The film incorporated a solid cast, with more than one actor making their own screen debuts. It's a gritty, authentic story - one that has a mesmerizing atmosphere and soundtrack in tune with this director's now trademark visual style.

Though it is now considered the talent pool to draw from for motion pictures, Mann (like another great director, Ridley Scott) did his prerequisite work in TV commercials. Both were the vanguard for today's directors. However, though Michael's gift for stunning, even artistic, visuals developed there, it really blossomed once he started directing and producing movies. I include the great TV movie The Jericho Mile here (another film that truly demands a good U.S. Region 1 DVD release - especially if you don't have access to a region-less disc player). But, Michael Mann has always been underrated in his ability to tell a story and develop characters. Many of his films were also written for the screen and executive-produced by him. He is in that rarified air of directors who are also great screenwriters and film producers in their own right.

Image by Craig Grobler via Flickr

Veteran actor James Caan was in his 'street' element when he undertook the role of Frank, the movie title's high-line, independent thief. And, he's as hard a individual as the diamonds he steals. The character of Frank is somewhat a throwback to the pantheon of 70's film anti-heroes. A flawed, dangerous man who draws the audience to him as he attempts to play catch-up from a prison-shortened life. Caan wonderfully portrays him as a man, though expert and skilled in his illegal trade, self-taught and woefully unprepared for any kind of normal (family) life on the outside. His directness (with his collage postcard as a less than adequate roadmap) is one of not wanting to waste any more of the time he has to construct a normalcy he's never experienced. He's a nihilist incongruently trying to meld (fulfill) his dreams of a life wished upon him by his prison mentor/father-figure. Unfortunately, Frank's dreams become his downfall (and another remnant example of a 70's protagonist).

Cover of Thief

Being state-raised (by the prison system) and with little to no parenting to bolster himself on, Frank's nature is gravitationally pulled toward father-figures. Easily, the other stirring character performances in the film are from them: the too-little seen Willie Nelson as Okla, and especially, Robert Prosky as the displacing entity, Leo. In a remarkable screen debut, Prosky is startling as the syndicate leader seeking to tempt Frank with a Faustian deal. His paternal stalking and entrapment of Frank (and the audience) is hypnotic. And when it's realized, he gives one of the most chilling and vile culminating speeches spoken on film, ever (and all of this by a sweet looking old man, at that). The other very touching performance is by Tuesday Weld as Frank's love interest, Jessie. Hers is one that makes Frank's decisions late in the film that much more heartbreaking. The supporting cast members are more than solid, with Jim Belushi (in his first prominent role), retired cop Dennis Farina, and John Santucci (in another debut) standing out in their minor roles.

For those who've yet to have seen one, if there's another earmark of a Michael Mann film, it is in its authenticity of story and trade craft. The basis for the story is the 1975 book, The Home Invaders, by Frank Hohimer. Thief also makes use of real-life thieves as technical advisors (and as cast members). In fact, real-life Chicago cops also dot the cast and lend their experience in the proceedings (and makes one wonder what it was like with that mix on those sets and shooting locations). The terms and dialogue, tools and techniques used in the film ring true because they are (and director Mann wouldn't have it any other way). The safes disected up on the screen are real, too (no props here). All of the tools and guns are genuine (and have real histories). Another point is the combat pistol craft on display, especially by Caan's Frank character. Nothing here is Hollywood fake or flash. All of this adds to the undisputed credibility in the film and only enhances the direction and actor's performances.

Image by le0pard13 via Flickr

Michael Mann created a memorable major film and directorial debut that's brimming with visuals and technique that would be copied throughout the 80's by others. But, besides its style and atmosphere, it's a more character-driven movie than many give it credit. And, as Amazon's Jim Gay writes, beautifully photographed by Donald Thorin and enhanced by the Tangerine Dream soundtrack. This DVD is the director's cut, not the theatrical version shown on screens in '81. It has some minor scene additions to the theatrical release. I'm also in complete agreement with other reviewers and bloggers that this was the precursor to Mann's more realized film, 1995's Heat (which I touched on earlier in the year). In fact, if you listen to the very fun commentary track by Mann and James Caan (which was probably done for the earlier laser disc release of the film), you'll learn it was recorded while the director was filming that later, great work. They are both worthy and remarkable films for each of their decades, and their fans (like me).

Powered by ScribeFire.

Varying Degrees of Tastiness

After viewing some of what's out there in Summer Movies during the past week, I feel the need to mention what actually worth consuming, IMO:

I'd Spit It Back, If I Could

Transformers: Revenge of the Fallen - this has to be my most despised movie of the summer (so far). Having sat through the first movie two years ago with my son, and being too old for this Hasbro toy line to really care, it was just okay (in that Michael Bay, actiony kinda of way). However, that first movie now seems like classic cinema compared to this monstrosity (I'm actually checking for signs of the Apocalypse since it's making money hand over fist). Where do we begin? Loud, long, chaotic, offensive (especially for the adults taking their kids to this for the inappropriate language and its promotion of the worst of racial stereotypes for two new autobot characters), and for having Steven Spielberg totaling forgetting his responsibilities as an Executive Producer to deliver something he could be proud of and have his name associated with it. And I really hate it that my son absolutely loved this--where did I go wrong as a parent!!!

Tasteless: As In It Has Almost No Flavor

Ice Age: Dawn of the Dinosaurs - I'm beginning to think if it has a colon anywhere in the title, you should be suspicious. Ever since Pixar began its long line of quality animation films, others have tried to get in on the genre with movies of their own. 20th Century Fox has to be third in line (behind Dreamworks) in regards to what they put out. The first Ice Age was cute, not great (I mean, who could have imagined Dennis Leary doing safe voice work in a kid's movie). But, its subsequent sequels have been going down in quality and concept. I'm with critic A.O. Scott on this one:

But the idea that a hot, verdant land, populated by giant lizards and carnivorous plants, might have lain hidden beneath the glacial, prehistoric ice — I’m sorry, but that’s just idiotic.

It has its moments, namely anytime the swashbuckling Buck is on screen (voiced by Simon Pegg), but it definitely is not worth getting excited over.

Tasty

The Proposal - right up front, I'm a Sandra Bullock fan. Most of the time, her smart and sexy persona and timing in a romantic comedy are impecable. And here, she returns to what she does best. I'll just point you over to Pop Culture Nerd's review of it since she's already said it, and said it well. I'll just add that the wife of Jesse James is mighty impressive in an hysterical nude scene in this film, and worth seeing just for that alone.


The Hurt Locker - Kathyn Bigelow always makes the most interesting of action films (whether they are great or not, they are never boring). From Near Dark to Point Break to K19, The Widowmaker, the woman is a hell of a director. And this one is one hell of a film. Intense, gut twisting suspenseful, and evocative--THL is memorable. I think it is likely to go down as the first film of the Iraqi War that's worth experiencing. But, I warn you now. The director makes use of hand held camera techniques in the film, and its inherent motion. Not since Peter Berg's The Kingdom have I gotten motion sick like I did with this one. Now if someone could only have her teach Michael Bay how its done, the nausea would be worth it.

Tastiest

Public Enemies - out of this partial list of Summer Movies, this film was it for me. Michael Mann is a master of the crime genre, and he breaks new digital ground here with his film centered upon John Dillinger and the rise of Hoover's FBI. Johnny Depp gives a subtle but great performance as the Depression-era outlaw. But, this is still Mann's film and he details with his usual care an adaptation of Bryan Burrough's non-fiction book Public Enemies: America's Greatest Crime Wave and the Birth of the FBI, 1933–34. And though past gangster crime films have been the territory of B pictures, this is one A level film. I can't say it better than L.A. Times critic Kenneth Turan does:

"Public Enemies' " title, though taken from Bryan Burrough’s history of Depression era crime, offers uncanny -- and deceptive -- echoes of one of the iconic gangster films of the period, William Wellman's "The Public Enemy," which starred an incandescent James Cagney as a hooligan so hard-boiled he shocked American by squeezing a grapefruit into girlfriend Mae Clarke's face.

But if Cagney is all exuberant, anarchic energy, Johnny Depp’s Dillinger is just the opposite. There is a formal, almost existential quality about his fatalistic portrayal of the scourge of the Midwest, more "Le Samourai" than "White Heat," more Alain Delon cool than Cagney hot.

Something tells me that I'll be adding another Mann film to annual viewing list...

Review: Michael Mann's Heat

Today, I finally got a chance to watch another of my movie annuals: 1995's Heat by director Michael Mann. It may be cheating to recycle (see below) an old customer review I wrote in 2002 for Amazon of the previous barebones DVD, but let's say I'm going more green. I don't know why I watch it during the Spring, but there it is. As I write this post, I even have Heat's closing musical piece, Moby's God Moving Over the Face of the Waters, playing on the computer. Okay... I'm obsessing.

Perhaps, Mann's Best

Writer-Director Michael Mann's 1995 Los Angeles crime saga, Heat, is perhaps his best film work. Without having to worry about niggling facts and real timelines to get in the way (and cause critics to point them out) like in later films (Ali or The Insider), this creative character-driven piece of moviemaking mesmerizes through great lead and ensemble performances, direction, and storytelling. All three aspects work wonderfully in this tale of two opposing "crews" who go up against each other on the streets of L.A.: a professional group of criminals led by master thief Neil MacCauley (Robert DeNiro) and LAPD's elite Metro Robbery/Homicide lead by Lt. Vincent Hanna (Al Pacino).

This post has been updated and relocated to my current blog, found here.