Tag: Netflix

There’s a line fairly early on in David Fincher’s latest film Mank that sums it up beautifully: “You cannot capture an entire man’s life in two hours, all you can do is leave the impression of one”. The screenwriter is referring to the creation of the often quoted “greatest film of all time”, Citizen Kane but Fincher has also taken the phrase to heart, painting an incredibly detailed, complex and enthralling look at 1930’s Hollywood and the internal politics which plagued the studio system at the time. Aided by an Oscar-worthy performance from Gary Oldman, genuine technical wizardry that will make you believe you are watching a film from the 1930’s and a killer score from frequent collaborators Trent Reznor and Atticus Ross, this is a deep dive into one of classic Hollywood’s most notorious stories, told by someone with great affection for the material. That complexity becomes a hindrance for the film in spots, as the pacing of the film varies wildly and there are a few too many inside-baseball terms and references for the casual viewer, but those with even a passing interest in film history will likely love Mank.

The first thing that will grab you in Mank is the stylistic choice Fincher has made. This is a visually striking film, more so than any other modern film in recent memory, and one that wears its admiration and love for classic cinema well and truly on its sleeve. Outside of the obvious black and white presentation are the little things that Fincher and company have woven into the fabric of the film. The picture has a grainy quality to it (typical of classic cinema) with changeover cues (which signalled the changing of the physical film reel) and slight picture tears digitally added in to blend the film itself into the time period it is set in. The black and white also aids in conveying the multiple opinions expressed by the many different players in the film. The politics of Hollywood itself – combined with the larger political impact of the Depression and the war at the time – factor in prominently to the story being told and everyone’s opinion is slightly different on the spectrum between democrat and republican. The myriad of greys that constantly swamp the screen help reflect these varied responses to the world and the shadow or light Fincher chooses to bathe his characters in can often reflect their political views in relation to Mank’s personal views. The sound design also adds a lot here, with echoes to the dialogue indicative of the sound technology before digitisation as well as a typically incredible score from Trent Reznor and Atticus Ross which continues their winning streak of collaborations with Fincher, at once fitting right into the time period whilst sounding modern, with the slowly ticking, tension-inducing accompaniment to a climactic dinner confrontation a particular highlight.

In typically subversive Fincher-fashion, the director presents the story non-linearly. The overarching, framing narrative follows an older, injured Herman J. Mankiewicz (Oldman), who has been exiled to a remote cabin in Victorville, California by director Orson Welles (Tom Burke); free from politics, alcohol and any other distraction in order to complete the screenplay for the film that will become Citizen Kane. While here, Mank forms a bond with his typist Rita (Lily Collins), a young, idealistic British woman whose husband is fighting in the war. The Mank we see here is defeated; a self-proclaimed “washed-up” screenwriter who, at 43, believes he has wasted the talents of his youth and hasn’t achieved the greatness he was destined for. Oldman sells the world-weary side of Mank well. There is a tiredness to the man and it is immediately plain to see that he has gone through a hell of a journey to get to where he is at this point. The relationship he forms with Rita is touching and therapeutic for the both of them, as she learns to trust in the troublesome old man, discovering a kinder side that she didn’t believe was there, while he relishes the chance to initially torment but soon after banter with the young, switched on woman, a worthy opponent for his mental jousting that allows him to churn out page after page of script. It’s well done and simple enough to follow but these scenes are simply not as interesting compared to the flashback scenes of Mank’s heyday. Apart from a late encounter with Welles himself – played to perfection by Tom Burke – these scenes don’t crackle with the intensity that one would come to expect from a Fincher film.

Thankfully those flashback scenes are where the film soars. Written by his late father Jack Fincher, this is clearly a passion project for his son and it shines through in these frenetic, energetic scenes within the Hollywood studio system. The dialogue absolutely sings with the quick and witty back and forth between writers and studio executives almost too fast to follow at times. Mank, ever the socialite, runs through Hollywood like it is his own personal playground, and Oldman is simply thrilling to watch, expertly delivering line after line of lightning fast, razor sharp dialogue as he dips in and out of sets and executive offices at will, doling out words of advice and witty puns wherever anyone will indulge him. This fearlessness and need for attention serve him well when the screenwriter encounters newspaper baron William Randolph Hearst (played by Charles Dance and immediately familiar to fans of Citizen Kane and Rita, for bearing a striking resemblance to the tragic protagonist of Mank’s masterpiece) and his mistress Marion Davies (Amanda Seyfried). Hearst takes an interest liking to Mank’s refreshing willingness to express his opinions no matter the setting and as the screenwriter descends into Hearst’s circles, visiting parties and generally benefitting from his association with the tycoon, he strikes up an intense, platonic relationship with Marion. Amanda Seyfried gives a career best performance here as the actress who struggles with being known more for her relationship with Hearst than her actual talent and the scenes where she expresses this self-doubt to Mank are witty and moving, as she comes to accept her (admittedly still very well-off) lot in life.

Fincher surrounds Mank with a bevy of talent, with Arliss Howard a captivating villain as Louis B. Mayer, the famous head of MGM studios, harbouring a hatred for Mank’s unwillingness to conform to social conventions typical of the studio system. The pair have a brilliant back and forth, constantly taking shots as they encounter each other over the years, ultimately culminating in that aforementioned dinner confrontation that is surely the standout scene of the whole picture, a tightrope walk between tension and humour with a soul-crushing revelation to cap it all off. Tom Pelphrey is similarly excellent as Herman’s brother Joe Mankiewicz, constantly in his brother’s shadow and the less talented creative who has chosen a more business oriented life; he loves his brother but has grown weary of his antics. Rounding out the core cast is Mank’s wife Sarah, an extremely dutiful housewife who constantly supports her husband despite being viewed as a pushover by almost everyone around her for putting up with his constant drunken shenanigans. It’s something of a thankless role for Tuppence Middleton who doesn’t seem to play much of a role at first but who slowly becomes this incredibly sympathetic character as you develop this feeling of deep sorrow for her. She is an extremely selfless and loving person who has committed herself to this way of life and refuses to back down and Middleton owns the role, putting Mank in his place when necessary and stepping aside when she knows he is out of control; powerless to stop him from his attack on Hearst which ultimately costs him his position in Hollywood, prime for a come-back with Kane.

David Fincher’s 11th feature film is a labour of love. An ode to a classic time in Hollywood that he clearly cherishes; a family affair based on a script by his own father. It absolutely succeeds in glorifying the time period, providing a fast-paced, acerbically tongued world of powerful studio executives and prestige pictures. Oldman’s performance as the titular screenwriter is nothing short of amazing, crafting a complex, multi-faceted look at this complicated man who was loved and hated by many. While there is a distinction in quality between the present day and the far superior flashback storylines, with the pacing suffering because of it, the technical expertise and dedication to making the film look and sound as authentically 1930’s as possible never ceases to be spellbinding to look at. Unlike some of the other gems in Fincher’s filmography, Mank might not be as instantly re-watchable, but it is nevertheless a fascinating and rewarding film for lovers of cinema to sink their teeth into.

Mank stars Gary Oldman, Amanda Seyfried, Lily Collins, Arliss Howard, Tuppence Middleton, Tom Pelphrey, Tom Burke & Charles Dance – Streaming on Netflix now.