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Mank

  • 2020
  • T
  • 2h 11min
VALUTAZIONE IMDb
6,8/10
86.024
LA TUA VALUTAZIONE
POPOLARITÀ
3718
632
Gary Oldman, Charles Dance, Emily Joy Lemus, and Amanda Seyfried in Mank (2020)
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La Hollywood degli anni '30 è rivalutata attraverso gli occhi del graffiante critico sociale e sceneggiatore alcolista Herman J. Mankiewicz, mentre si affanna a finire il copione di Quarto p... Leggi tuttoLa Hollywood degli anni '30 è rivalutata attraverso gli occhi del graffiante critico sociale e sceneggiatore alcolista Herman J. Mankiewicz, mentre si affanna a finire il copione di Quarto potere per Orson Welles.La Hollywood degli anni '30 è rivalutata attraverso gli occhi del graffiante critico sociale e sceneggiatore alcolista Herman J. Mankiewicz, mentre si affanna a finire il copione di Quarto potere per Orson Welles.

  • Regia
    • David Fincher
  • Sceneggiatura
    • Jack Fincher
  • Star
    • Gary Oldman
    • Amanda Seyfried
    • Lily Collins
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    6,8/10
    86.024
    LA TUA VALUTAZIONE
    POPOLARITÀ
    3718
    632
    • Regia
      • David Fincher
    • Sceneggiatura
      • Jack Fincher
    • Star
      • Gary Oldman
      • Amanda Seyfried
      • Lily Collins
    • 612Recensioni degli utenti
    • 340Recensioni della critica
    • 79Metascore
  • Vedi le informazioni sulla produzione su IMDbPro
    • Vincitore di 2 Oscar
      • 65 vittorie e 270 candidature totali

    Video12

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    Trailer 1:01
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    Trailer 2:39
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    Trailer 1:00
    Official Teaser
    Mank
    Trailer 2:34
    Mank
    A Guide to the Films of David Fincher
    Clip 2:09
    A Guide to the Films of David Fincher
    Art of the Crew | Production Design
    Clip 1:02
    Art of the Crew | Production Design

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    Interpreti principali99+

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    Gary Oldman
    Gary Oldman
    • Herman Mankiewicz
    Amanda Seyfried
    Amanda Seyfried
    • Marion Davies
    Lily Collins
    Lily Collins
    • Rita Alexander
    Tom Pelphrey
    Tom Pelphrey
    • Joe Mankiewicz
    Arliss Howard
    Arliss Howard
    • Louis B. Mayer
    Tuppence Middleton
    Tuppence Middleton
    • Sara Mankiewicz
    Monika Gossmann
    Monika Gossmann
    • Fraulein Freda
    Joseph Cross
    Joseph Cross
    • Charles Lederer
    Sam Troughton
    Sam Troughton
    • John Houseman
    Toby Leonard Moore
    Toby Leonard Moore
    • David O. Selznick
    Tom Burke
    Tom Burke
    • Orson Welles
    Charles Dance
    Charles Dance
    • William Randolph Hearst
    Ferdinand Kingsley
    Ferdinand Kingsley
    • Irving Thalberg
    Jamie McShane
    Jamie McShane
    • Shelly Metcalf
    Jack Romano
    Jack Romano
    • Sid Perelman
    Adam Shapiro
    Adam Shapiro
    • George S. Kaufman
    John Churchill
    John Churchill
    • Charles MacArthur
    Jeff Harms
    Jeff Harms
    • Ben Hecht
    • Regia
      • David Fincher
    • Sceneggiatura
      • Jack Fincher
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti612

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    Recensioni in evidenza

    7bastille-852-731547

    Solid slice of early film history

    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
    7jpt-22556

    Sorry, once again, I found the last movie of a great director boring!

    After Roma and Irishman, I couldn't help it: I found Mank absolutely boring. Formally brilliant but awfully boring. Am I the only one on this planet to think this way? If it's the case, I won't write any review again, promised!
    6secondtake

    Sadly overwrought and underwhelmed

    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?
    7planktonrules

    A film which seems to have been for a select few....but not the hoi polloi..

    "Mank" is a film that seems as if it was never intended to be seen by most of the public. And, while most film critics and the Oscars loved the movie, the average person would have doubtless left the theater (or Netflix) completely confused. After all, to really appreciate the film and follow it, you need to know who folks like Irving Thalberg, William Randolph Hearts and many of Herman Mankiewiecz's contemporaries. I do, mostly because I am a retired history teacher and old film nut...but I am also not the average person. For them, I really feel sorry, as the film bounces back and forth in time and involves all sorts of people long dead....and soon to be forgotten.*

    The story is a semi-fictionalized biography of Herman Mankiewiecz and it centers on how he wrote "Citizen Kane". The problem is that the movie goes on the assumption that he pretty much completely wrote the script and based it upon his contact with Hearst and his mistress, Marion Davies. While this is true...it's partially true according to most sources. The contributions of John Houseman and, especially, Orson Welles, are almost completely ignored by the film. So, my advice is don't take the film as the gospel truth...though I do appreciate how the film also manages, at least a bit, to show that Marion Davies was NOT the talentless idiot she was shown to be in "Citizen Kane"...something that just seemed cruel from that screenplay.

    Overall, I found the film fascinating and with some excellent performances. But it's also not a film that I loved...mostly because it seemed to have an agenda...one that was more important that giving the entire truth.

    *This film is full of inside jokes and cleverness that completely passes over the heads of most viewers and that annoyed me a bit. For example, when talking about the author Upton Sinclair, one comment made was that someone was so dumb that they thought he wrote "Elmer Gantry"...a book, incidentally, that was written by Sinclair Lewis (though they never explained this confusion nor why it is easy to make for most people). This just seemed awfully elitist.
    7ahicks-2

    An historically innaccurate tour de force,

    Like Oliver Stone's "JFK a masterfully executed distortion of history Fine acting and cinematography, but no comparison to those of "Citizen Kane."

    Fincher's villainization in MANK of Welles as a plagiarist runs contrary to the facts. To quote Robert Carringer, the expert on the matter: "A virtually complete set of script records for Citizen Kane has been pre- served in the archives of RKO General Pictures in Hollywood, and these provide almost a day-to-day record of the history of the scripting. Once this record is reconstructed and all the available pieces of evidence are matched to it, a reasonably clear picture emerges of who was responsible for what in the final script. The full evidence reveals that Welles' contribution to the Citizen Kane script was not only substantial but definitive (370)... "Herman Mankiewicz's principal contribution to the Citizen Kane script was made in the early stages at Victorville. The Victorville scripts elaborated the plot logic and laid down the overall story contours (398).... The Mankiewicz partisans would have us believe that this is the heart of the matter and that by the end of Victorville the essential part of the scripting was complete. Quite the contrary... Major revisions begin as soon as the script passes into Welles' hands, and several important lines of development can be discerned in sub- sequent phases of the scripting. One of these is the elimination of dramatically questionable material, especially of a large amount of material drawn from Hearst. Another is a fundamental alteration of the nature of many of the scenes; this may be described generally as a shift from scenes played continuously to scenes fragmented according to montage conceptions" (399). (Here, the evolution of Mankiewicz's rather humdrum scenes involving Kane and Emily into the film's concise, witty, montage is a perfect example.), Yet another is the evolution of Charles Foster Kane as a character. The principal strategy is the replaying of certain key situa tions and moments in his life over and over again as a means of testing and discovering the character (399)....":Not even the staunchest defenders of Mankiewicz would deny that Welles was principally responsible for the realization of the film. But in light of the evidence, it may be they will also have to grant him principal responsibility for the realization of the script" (400)." (See Robert L. Carringer. "The Scripts of 'Citizen Kane.'" Critical Inquiry, Vol. 5, No. 2, 1978pp. 369-400; Also cf. The Making of Citizen Kane, 985). More interpretively. Welles was preponderantly an adapter of others work, whether from Shakespeare, lesser classics or thrillers, whether for radio theater, stage theater or film. "Citizen Kane" can be viewed as Welles' adaptation of Mankiewicz's ungainly, 250-page "American," his first "script" for "Kane."

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    Trama

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    Lo sapevi?

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    • Quiz
      Gary Oldman wanted to wear elaborate prosthetic makeup to closely resemble the historical Herman J. Mankiewicz but was persuaded otherwise by David Fincher, who wanted minimal makeup for capturing a more intimate performance.
    • Blooper
      In the first flashback scene featuring the meeting between the writers, Josef Von Sternberg, and David O. Selznick in 1930, the characters mention Universal Studios as the "horror studio" and mention titles such as Frankenstein and The Wolf Man. Frankenstein would not be filmed and released until the following year while The Wolf Man would not be made until 1941; 11 years after the scene takes place.
    • Citazioni

      Herman Mankiewicz: You cannot capture a man's entire life in two hours. All you can hope is to leave the impression of one.

    • Curiosità sui crediti
      The Netflix logos at the beginning and end are in full color, despite the film being in black and white.
    • Connessioni
      Featured in The Tonight Show Starring Jimmy Fallon: Nick Kroll/Lily Collins/Matt Berninger (2020)
    • Colonne sonore
      (If Only You Could) Save Me
      Music & Lyrics by Trent Reznor & Atticus Ross

      Produced by Trent Reznor & Atticus Ross

      Vocals by Adryon de León

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    • What is the significance of Louis B Mayer dropping his handkerchief out of the car window after Irving Thalberg funeral?

    Dettagli

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    • Data di uscita
      • 4 dicembre 2020 (Italia)
    • Paese di origine
      • Stati Uniti
    • Sito ufficiale
      • Netflix
    • Lingue
      • Inglese
      • Tedesco
      • Latino
    • Celebre anche come
      • مانك
    • Luoghi delle riprese
      • Victorville, California, Stati Uniti
    • Aziende produttrici
      • Blue Light
      • Flying Studio
      • Netflix Studios
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

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    • Budget
      • 25.000.000 USD (previsto)
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    Specifiche tecniche

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    • Tempo di esecuzione
      • 2h 11min(131 min)
    • Colore
      • Black and White
    • Mix di suoni
      • Mono
    • Proporzioni
      • 2.20 : 1

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