MANK: biting the hand

Gary Oldman and Amanda Seyfried in MANK

David Fincher’s Mank is a black-and-white beauty of a film, a portrait of troubled talent in Classic Hollywood.

Mank is a character study of Herman J. Mankiewicz (Gary Oldman) as he pens his Oscar-winning screenplay for Citizen Kane. Mankiewicz was an Algonquin Round Table wit whose misfortune was that he despised the one thing that he excelled at. He was a master writer and fixer of Hollywood movie scripts, but he would rather have been in Manhattan trading bon mots with his peers in the intelligentsia. He particularly the industrial, ultra-commercial and course movie studio bosses and despised their politics.

It didn’t help that Mankiewicz was a raging alcoholic and compulsive gambler (although not a womanizer). He was so hard to handle that Orson Welles essentially imprisoned him at a remote California desert ranch to write Citizen Kane.

Mankiewicz had one unsurpassed idea for a script – the story of media mogul (and frustrated politician) William Randolph Hearst. Mankiewicz had been a frequent guest of Hearst and his companion Marion Davies at Hearst Castle. The problem is that telling this story would piss off the owner of the world’s biggest publicity machine and horrify the movie studio heads who employed screenwriters. And, most poignantly, it would betray Mankiewicz’s kind friend Marion Davies.

Mankiewicz had served as the court jester at Hearst Castle, and the term comes up repeatedly in Mank, most importantly in a cutting remark by Herman’s little brother Joseph Mankiewicz.

The Wife stayed with Mank and finished it, but she advised me that Mank is much more appealing to cinephiles who already know the “inside baseball” of the old movie studio system and the making of Citizen Kane. Indeed, when the likes of Louis B. Mayer, Ben Hecht, Joseph Mankiewicz, Irving Thalberg and John Houseman popped up, it instantly resonated with me.

The entire cast is excellent, but Amanda Seyfried is beyond great as Marion Davies. Charles Dance (coming off his Lord Mountbatten in The Crown) is perfect as William Randolph Hearst. Muckraker-turned-socialist-gubernatorial-candidate Upton Sinclair is played by…(wait for it)…Bill Nye the Science Guy.

David Fincher is one of our greatest directors (Se7en, Fight Club, Zodiac, The Social Network, Gone Girl). Fincher’s father Jack Fincher wrote the screnplay for Mank (and clearly shared Herman Mankiewicz’ acid view of the Hollywood hierarchy), so this is clearly a labor of love for David Fincher.

As a tribute to both Citizen Kane and the Golden Age of Hollywood, Mank is just gorgeous, as beautiful a black-and-white film as any directed by John Ford or shot by Sidney Toler, Nicholas Musuraca or John Alton. Mank’s cinematographer is Erik Messerschmidt (TV’s Mindhunter).

Mank is going on my list of Best Movies of 2020 – So Far. I see Oscar nominations coming for Fincher, Messerschmidt and Seyfried. Mank is streaming on Netflix.

DARKEST HOUR: certainty in a moment of uncertainty

Gary Oldman in DARKEST HOUR

A less-remembered moment in human history makes for a great story in Joe Wright’s Darkest Hour, which takes place entirely in May 1940, the period after the German blitzkrieg through the Low Countries on the way to Paris and just before the Dunkirk evacuation.

It’s not always easy today to remember that there was a time when it appeared that Hitler would win WW II. In May 1940, the Nazi empire had swallowed essentially all of Central and Western Europe except for France, which was teetering on the verge of imminent surrender. The entire British Army was trapped, surrounded on a French beach across the Channel.

The UK was both damaged and entirely isolated. Stalin had split Poland with Hitler, and it was over a year before Hitler’s invasion of the USSR. It was also 19 months before Pearl Harbor brought the US into the war.  With no hope of external help, Winston Churchill even publicly contemplated the war being carried on by the Commonwealth nations after the German conquest and occupation of the island of Britain.

in Darkest Hours, Winston Churchill (Gary Oldman in a superb, Oscar-worthy performance) has just become Prime Minister. At the time, Churchill was a 66-year-old who had peaked at forty.  He had been a superstar daredevil in his twenties who squandered his celebrity in a career dotted by Bad Gambles, where he had repeatedly gone All In and lost all of his chips. By 1940 he was well-known for engineering a horrific military disaster at Gallipoli in WW I and for a series of political party changes. Not the confidence-inspiring figure we think of today.

So in this situation, what to do? One option was to embark on what one could rationally conclude would be a suicidal course of waging aggressive war and risking obliteration. Another option would be to negotiate the most favorable surrender with Nazi Germany.  No good choices here.

If Churchill begins trash talking the Germans just before their invasion, is that delusional or intellectually dishonest? Or a moment of inspired leadership?

Churchill’s selection as Prime Minister was forced on the former Prime Minister Neville Chamberlain and his top foreign affairs expert Lord Halifax, and the two were understandably concerned that Churchill might be leading the nation to its (literal) ruin. They lay a trap, but great politicians like Lincoln and Churchill do not let themselves be trapped.

The core of Darkest Hour is Churchill probing for a solution while under the most oppressive stress and pressure. In Darkest Hour, his outsized personality and eccentricities sprinkle the story with humor. Churchill, well-known for consuming a bottle of champagne with both lunch and dinner and working, slugging down brandy and whisky,  late into the night, is shown having breakfast eggs with champagne and whisky. When the King, at lunch, asks him, “How do you manage drinking during the day?”, Winston replies, “Practice”.

Oldman is as good as any of the fine actors who have played Churchill.  Kristin Scott-Thomas is especially excellent (no surprise here) as Churchill’s wife of then 32 years, Clementine.  Lily James (Lady Rose in Downton Abbey) is appealing as the fictional secretary through whose eyes the audience sees the private Churchill. Ben Mendelsohn is very good as King George VI, who has watched Churchill’s career to date askance. Stephen Dillane is particularly good as Lord Halifax,

There is one especially touching, but wholly phony scene with a “poll” in the Underground, but, other than that, Darkest Hour is very solid history.

Joe Wright is a fine director, and, here, has selected a moment in history that has sparked an exceptionally good movie. I saw Darkest Hours with a multiplex audience, which erupted into a smattering of applause at the end.

Lawless: good looking, well-acted and completely predictable

Lawless is a good looking, well-acted and completely predictable crime drama among moonshiners in Prohibition Era Appalachia.  The filmmakers were careful to enrich the film with all kind of period detail – not just the cars and the clothes, but down to the advertisements at the gas station and the footwashing and the Sacred Harp singing at the Church of the Brethren. However, we always know that [minor spoilers] the good guys will defeat the villain and Jessica Chastain will fall for Alpha male Tom Hardy.

The story by musician Nick Cave is based on a real family of Virginia bootleggers and, as typical for Cave, is severely violent.  Hardy grunts and snorts, but is convincing as the leader of his brothers, played by Jason Clarke and (why is he a movie star?) Shia LaBeouf.

But the best acting is by the supporting company.  As the villain, Guy Pearce plays a lethal dandy.  Gary Oldman sparkles as a gangster ally. Mia Wasikowska, looking like she stepped out of a Dorothea Lange photo, is perfectly cast as a teen girl with an eye for bad boys.   And every time Jessica Chastain is on camera, she commands the screen and elevates the entire film; her beauty is especially breathtaking in Lawless, particularly when naked.

The Dark Knight Rises: Unfortunately, over 2 hours when Catwoman is not on the screen

Well, there’s 2 hours and 44 minutes that I’ll never get back. First, the good news about The Dark Knight Rises.  Anne Hathaway excels as the best Catwoman ever, and the banter between her and Batman crackles.  There are some exceptional CGI effects of Manhattan’s partial destruction. There’s a cool personal hovercraft, the Bat, and an equally cool combo motorcycle/cannon, the Batpod.

Unfortunately, that’s all the good stuff in director Christopher Nolan’s newest chapter of the Batman saga.  The problem is the screenplay, dotted with the corniest of dialogue and laden with pretentious Batman mythology.  When Catwoman tells him “you don’t owe these people any more! You’ve given them everything!”, Batman solemnly replies, “Not everything. Not yet.”

The plot simply exists to transition from action set piece to action set piece.  There are too many times, when a good guy is in peril, that another good guy pops up utterly randomly and just in the nick of time – too many even for a comic book movie.

With her bright wit and lithe sexiness, Hathaway fares far better than her colleagues.   Christian Bale continues his odd husky growl as Batman.   As the villain, an uber buffed Tom Hardy glowers from behind a fearsome mask.  The hackneyed screenplay wastes the rest of the extremely talented cast:  Joseph Gordon-Levitt, Marion Cotillard, Michael Caine, Gary Oldman and Morgan Freeman.  We barely glimpse Liam Neeson.  The captivating Juno Temple is apparently dropped into the story just enough to set her up for the sequel with Gordon-Levitt.

I saw The Dark Knight Rises in IMAX, which worked well for the long shots of NYC and made the fight scenes more chaotic.

Tinker Tailor Soldier Spy: John le Carre’s great whodunit

Tinker Tailor Soldier Spy is the new film version of the classic John le Carre spy novel.  The British have learned that the Soviets have planted a mole – their own double agent – near the very top of British secret intelligence service.  Only the old spymaster George Smiley, having been forced out to pasture, is beyond suspicion.  Only Smiley has the intellectual brilliance, institutional knowledge and ruthless doggedness needed to ferret out the traitor.  Gary Oldman plays George Smiley.

It’s a great tale, and the movie is good.  Oldman is joined by an impressive cast, inlcuding Colin Firth Tom Hardy, John Hurt, Mark Strong, Ciaran Hinds, Benedict Cumberbatch and Toby Jones.  Tom Hardy and Mark Strong are especially good.

I would be more enthusiastic about this film, but I harken back to the 1979 television miniseries version of the same book, starring Alec Guinness in perhaps his best role. That miniseries had even better performance by Guinness, of course, and Ian Richardson, Sian Phillips and Patrick Stewart.  It’s available on DVD, and I recommend that you rent it.

DVD of the Week: Tinker, Tailor, Soldier, Spy

In this 1979 miniseries version of the classic John le Carre spy novel, there is a Soviet mole in the highest echelon of British intelligence.  It could be anyone except George Smiley, whom the other top spies have pushed out to pasture.  Smiley, in one of Alec Guinness’ greatest performances, begins a deliberate hunt to unmask the double agent.  Guinness is joined by a superb cast that includes Ian Richardson, Patrick Stewart, Ian Bannen and Sian Phillips.  It’s 290 minutes of pressure-packed whodunit.

The Labor Day weekend is a great opportunity to watch the old master spy drilling down through the characters of his former peers to expose the mole – one of the best mysteries ever on film.

Tinker, Tailor, Soldier, Spy has been remade into a much shorter theatrical version that will open in the US on November 18.  This new film version will also feature a top tier cast – Gary Oldman, Colin Firth, Ralph Fiennes, Michael Fassbender, Ciaran Hinds, Benedict Cumberbatch, Toby Jones and Stephen Rea.   The trailer is at Movies I’m Looking Forward To.

Other recent DVD picks have been Poetry, Queen to Play, Kill the Irishman and The Music Never Stopped.