Mank

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?

... 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!

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!

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

Mank is a movie aimed squarely at film buffs that tells the story of the writing of Citizen Kane. I am a film buff. I love Citizen Kane. I am this movie's target audience. It is bad as a movie, and worse as a movie eager to be compared with the works of Orson Welles.

In the film, Gary Oldman plays alcoholic scriptwriter Herman Mankiewicz, who holes up in the middle of nowhere with a broken leg and the assignment to write a full script in a month. He bases the script on the life of powerful millionaire William Randolph Hearst. In flashbacks, we see Mank's dissolute life as a screenwriter, drunk, and witticism machine, as well as his friendship with Hearst's mistress, Marion Davies.

1. Mank as a movie

I want to take about Mank's failures as a film for film buffs and it's failures as Welles-lite, but I don't want that to get in the way of the most important point, which is that this movie is simply dull. Oldham is persuasive as Mank, but the character is like one played by Thomas Mitchell in old 40s movie; a side character whose witticisms are fun but never make you want to find out what makes him tick.

The alcoholic writer isn't an inherently uninteresting subject, but it's also not an inherently interesting one, and the movie doesn't give us any particular reason to care about Mank. The flashbacks are sometimes interesting and sometimes not, but in neither case do they change the movie from basically being a guy in a house typing and getting blackout drunk. There is nothing within the movie that makes you curious about the characters or the situation - the only thing that kept me watching was curiosity about Citizen Kane, and if I'd never seen that movie I wouldn't have finished this one. The acting is good, and Amanda Seyfried is actually exceptionally good as Davies, but there's really not much to this at all. It doesn't pull you in at the start, and the end feels as meh as the rest of it.

2. Mank as a film buff movie

The best thing about Mank is the gorgeous black-and-white cinematography, which does a dead-on impression of Greg Toland's work in Citizen Kane, down to emulating specific scenes. Set and costume design are also first-rate.

But as behind-the-scenes look into Citizen Kane the movie is a failure. One thing I wanted to know was why, if Mank was friends with Hearst and with Davies, he turned on them so savagely.

Some say that the treatment of Davies was the thing that most harmed Kane most of all. True, Not only was it reportedly the main reason Hearst wanted to destroy the movie, but Davies, a talented light comedian pushed into inappropriate roles by her sugar daddy, was charming and well-liked (which Seyfried captures wonderfully) and threw big Hollywood parties and because of that, Hollywood would not rally around Kane as Hearst attacked it. Even Welles admitted, years later, that he had been unfair to Davies.

So why did Mank trash her? The movie offers a simplistic answer involving Upton Sinclair that doesn't make much sense and, when I researched it, isn't remotely what happened. There is no thoughtful attempt to consider why a writer would use his friends as grist for the mill, even though other writers have successfully looked at the very subject without reducing it all to petty, self-righteous vengeance.

The movie also falls onto the long-exploded Pauline Kael side of the who-wrote-Kane debate, suggesting Welles did pretty much nothing on the script. A little research shows scholars have conclusively refuted this (one of the top of the "most helpful" IMDB user reviews gives a good overview of this).

The only reason I kept with this movie was for the real-life story that it couldn't bother to tell.

3. Mank vs. Orson Welles

By making a movie about Citizen Kane, and making it look just like Citizen Kane, director David Fincher would seem to be *daring* people to compare his work with Welles. But it falls short of Welles work in every non-superficial way.

Welles was certainly a big fan of flashy cinematography. He could be gimmicky. But there was always intent to it. Gimmicks were always both "oh, cool!" and "look how that emphasizes the point he's making in a fresh way."

Beyond the flash, Welles was a filmmaker who never gave you all the answers. He gave you clues. Citizen Kane is about the search for Rosebud, but once you know what it is, you still don't know Kane. It's another clue, but it's up to the viewer to decide how to sort these clues. Welles gave you jigsaw puzzles with some pieces missing and some extra pieces. It was true of Kane and pretty much everything he did through his final film, The Other Side of the Wind. Welles did not consider people explicable. They lie about their motives to others and themselves, they change from moment to moment and year to year. It is the complexity, not the cinematographic tricks, that make Welles one of history's greatest filmmakers.

But Fincher's Mank isn't complex at all. His story arc is straightforward. He's a brilliant drunk. His motives are simplistic. He's self-destructive in a predictable fashion. Like all of us he has his good points and his bad points, moments of spite and moments of grace, but then, so does every character in a Hallmark movie.

And the gimmicks in Mank are just gimmicks. If you know Kane's opening scene you'll recognize the falling whisky glass as a callback, but what does it say? Not a thing. Not. One. Single. Thing.

Mank is a dull, unimaginative film that is infuriating because it has so many of the hallmarks of a good one. That makes it feel like a cheat. I regret watching it, and recommend everyone skip it.