Mank

Mank shows that David Fincher can make something that's nothing like the rest of his filmography, not bound to his own rules and conventions. It may not be entirely accurate in its depiction of how Citizen Kane was written but it's fascinating to see Fincher of all people go against auteur theory.

Gary Oldman is amazing. He's witty, self obsessed and unable to back down regardless of the consequences. His relationship with Amanda Seyfried is great, especially a walk around the gardens in which she shows she's so much more insightful than her peers give her credit for.

David Fincher's direction is a lot stronger in its visual and audio composition than its narrative construction. Going back to old Hollywood he crafts a film that truly belongs there, the black and white cinematography and the overall audio really feel of the time. However, the flashback heavy structure of the film robs it of what little momentum it has.

Trent Reznor and Atticus Ross also change things up from their usual output, displaying a completely new set of skills. Their score is fantastic, feeling era appropriate in the same way everything else does and it's definitely some of their least subtle work.

Mank (2020)

The movie that everyone wants to like. But why?

Oh, Gary Oldman as Mankewitz is rather terrific. And the subject matter should hold water, concerning William Randolf Hearst and that 1930s world of excess, not to mention Orson Welles and that obvious Citizen Kane connection.

But there are so many scenes where the writer is straining to make sure the audience is keeping up with things, for example giving us first names (and variations on first names) to clue us in on who is who. The strain of having to inform the audience chokes the intended authenticity. The scene early on where some screenwriters (including Ben Hecht) are chatting about screenplays and ideas is so forced it's embarrassing-especially since it's about screenwriting.

The movie has its beauty, for sure, filmed in greyish black and white that is a softened, more detailed version of classic Hollywood. Films from the time it is set, mid-1930s to 1940, are noticably "harder" in tonality, meaning deeper blacks and more overall contrast. Citizen Kane is a prime example. It's worth noting that the photography for "Mank" is generally very poised and luminous, lots of backlighting and delineated grey scales, not much like the photography in Kane.

Now you might expect the film to grow into its own vocabulary, to have a style of its own whatever the borrowings of its substance. But no, the script is stubbornly derivative and simplistic (almost as if the writers were in their 20s and just discovering Hollywood, and literature). And the reason for this is as old as the hills-the son David Fincher is adapting the screenplay of his beloved departed father, Jack Fincher. A natural mistake, but not one to put $50,000,000 on.

The plot, what little there actually is, blunders along, dull as pancakes in July. The cliches abound, the supporting cast spouts obvious quips, and the name-dropping is endless and revealing. I do love Citizen Kane, and admire Welles, and I also greatly admire many of Fincher's films on another level, so it all is a disappointment.

The saving grace is certainly Oldman, who acts his heart out, and sustains many scenes, even ones that don't offer much worth saving. True, he's a 62 year old playing the part of a man between 37 and 42, roughly, and that doesn't help. But he's committed and complex. A good job.

And the movie isn't a total wreck...but with all the hype, it really deflates and confounds. How and why, with all this talent, did it end up so underachieving? Or then again, who really cares?

The story of how writer Herman Mankiewicz penned Citizen Kane.

I had huge hopes for this film, and as it began, my heart sank with excitement, those black and white, soft visual sequences looked sublime, and the opening moments had me captivated, sadly it never really gets going, and ultimately disappoints.

Visually, it is rather breathtaking, 1930's Hollywood is reinvented, the soft lighting, camera work, costumes, cars, even the language are all on paint, pain staking efforts were clearly put into making this film a visual marvel.

Sadly the visuals alone weren't enough to save it, the story itself is interesting, but it's delivered in a way that'll have you yawning and fidgeting, it's too slow, too self indulgent.

The flashback sequences are distracting, and fail to enhance the film, just slowing down any momentum, if used sparingly, they can work, just too many here.

I must give huge credit to Gary Oldman, as always his performance is heart felt, sincere and terrific, and along with the visuals, simply not enough to save the film.

I can appreciate the production and visuals, I can certainly admire the acting, not just Oldman, the whole cast are excellent, but what I cannot forgive is the agonising pacing, and ultimately the boredom I experienced throughout most of it.

It is watchable, but I was glad to see the credits roll, 6/10.

I'm a huge fan of both "Citizen Kane" as well as David Fincher's films, so I was extremely excited to see this. Because of how much I enjoy Fincher's films as well as how good the trailers looked, I wanted to (safely) see it on a big screen rather than wait until Netflix. Needless to say, this is a good movie, but not a great one--and it does not quite live up to the quality one would expect from a Fincher film.

The story focuses on Herman Mankiewicz (Gary Oldman,) the screenwriter who worked--often tempestuously--with Orson Welles to write "Citizen Kane." However, the amount of time the film spends on material related to "Citizen Kane" is relatively little. Instead, the film tends to focus more on Mank's political activity, personal life, ascent into the movie business, and alcoholism throughout the 1930s. Oldman does a good job playing Mank, and is completely believable in the role. As one can expect from a Fincher film, the editing and cinematography are top-notch. The stylish, black-and-white aesthetic that feels both slightly understated (in the best way possible) and posh is beautifully complemented by a relatively steady camera and editing techniques common to films of the 1930s and 40s. The screenplay is generally well-written as well, although it doesn't feel as taut as you would expect in a Fincher picture, and the leisurely pacing is very well done.

Despite these strong qualities, "Mank" unfortunately is not quite great. The film develops Mank as a character, but he is portrayed in too static of a manner to really make for an engaging protagonist, or even one that can simply have clear ripple effects on the rest of the film's narrative and the characters around him. His characterization is not especially interesting. Fincher probably uses flashbacks a bit too much in the story, as many of the flashbacks to the early 1930s don't do too much to provide additional context to Mank as a character or the time period as a whole. Also, the supporting characters (such as the roles played by Amanda Seyfried and Lilly Collins) are not especially well-developed. As a result, the film doesn't completely work as a character study. However, it is still a generally well-acted and well-shot depiction of early film history that is worth seeing for viewers interested in the subject matter. 7/10

... just as CK wasn't, so if you enjoy expending time and energy reviewing and commenting on a work of fiction as if it were moulded and forged from the past verbatim, you really need to reconsider how you approach and view the world of cinema and film - perhaps life in general! Perspective, interpretation and imagination are the keywords and, on this occasion, it helps if you have an interest or familiarity with some, not all, of the characters portrayed and the products of their toil and travails - as this will definitely impact your view on the rendering which, in my opinion, was enhanced by a spectacular performance from Gary Oldman, further elevated and reinforced by three stunning constructions from the supporting ladies and embellished with my ability to acknowledge fact from fiction in the name of entertainment. Watch a documentary or read a biography if you want to be educated!