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Gary Oldman

Mank: Nostalgia Never Felt So Relevant

November 20, 2020 by Steve Norton Leave a Comment

MANK (2020) David Fincher’s MANK is a scathing social critique of 1930s Hollywood through the eyes of alcoholic screenwriter Herman J. Mankiewicz (Gary Oldman) as he races to finish the screenplay of Citizen Kane for Orson Welles. Gary Oldman on the set of Mank. Cr. Nikolai Loveikis.

Set in 1930s Hollywood, Mank tells the story of celebrated screenwriter Herman J. Mankiewicz (Gary Oldman) as he develops what will become his greatest ‘opera’, Citizen Kane. Under incredible pressure to produce brilliance through his writing, Mank reflects back on his toxic battles with the mighty William Randolph Hearst (Charles Dance) that led to being blackballed by the same studios that once embraced him.

MANK (2020) Gary Oldman as Herman Mankiewicz, Arliss Howard as Louis B. Mayer and Tom Pelphrey as Joe Mankiewicz. NETFLIX

Directed by David Fincher, Mank is an absolutely stunning sight to behold. Shot using similar stylistic devices as it’s subject Citizen Kane, Mank is an absolute tribute to the Hollywood of old. Using filtered lighting, slow fades and layered text, the film transports the viewer back in time to the Golden Age of cinema. (In fact, the film is so convincing that one could be forgiven if they were oblivious to the fact that it was released this year.) What’s more, the film’s score by Trent Reznor and Atticus Ross (frequent collaborators of Fincher’s since The Social Network) is utterly remarkable, echoing the crescendos and bounces of early soundtracks to perfection.

In fact, the reproduction of old Hollywood is so dazzling that it’s possible that some may use it as a slight against the film. Inevitably, there will be some who believe the film has more style than substance, attempting to impress audiences with their slavish abilities to recreate the past. (For example, this was one of the most vocal criticisms of former Best Picture winner, The Artist, which blew onto the scene with its homage to the silent film era.) However, to claim that Mank is merely fancy camerawork and special effects would be wholly inaccurate. 

MANK (2020) David FincherÕs MANK is a scathing social critique of 1930s Hollywood through the eyes of alcoholic screenwriter Herman J. Mankiewicz (Gary Oldman) as he races to finish the screenplay of Citizen Kane for Orson Welles. Amanda Seyfried as Marion Davies.

To quote Mank himself, “This is different. This is about something.”

Perhaps it’s not surprising that one of 2020’s best films smacks of nostalgia. Unironically, this would be the year above all else that viewers may yearn for a ‘simpler time’. However, if anything, the film continues to prove how stories of greed and corruption continue to be relevant to this day. In the world of Mank, the image is what gives power. Whether it’s Hearst’s impressive estate or the bright lights of celebrity, notoriety seems to equal influence. (“People think because you’re on the cover of Modern Screen, they know you,” Marion moans.) Nonetheless, the pomp and prestige that wealth and notoriety appear to offer create a vacuum too easily filled by dishonesty and fraud. Though he struggles with his own vices such as alcoholism, Mank is fully conscious of his flaws and yet remains unapologetic about them. Held up against the false imagery around him, Mank’s authenticity and self-awareness is worn as a type of broken armour and reveals the challenges of swimming upstream with integrity at a time when the river is poisoned. 

MANK (2020) Gary Oldman as Herman Mankiewicz and Amanda Seyfried as Marion Davies. NETFLIX

The first screenplay by Jack Fincher (David’s father, who died in 2003), Mank is a tribute to the notion of the writer and, more accurately, the truth itself. Though he struggles with his own demons, Mank has little time for the pretense of others. Speaking with a razor-sharp wit, he is beloved at parties but often written off for his wild perspectives and insights. (“He likes the way you talk. Not the way you write,” Mayer shoots at him.) Even so, Mank continues to speak his mind out of principle and integrity, attempting to reveal the sins within the imbalances of power. As “the smartest guy in the room”, he is well equipped to recognize the difference between the powerful political puppet masters and their unwitting marionettes. To Mank, honour comes from cutting through the façade that those in power put on for others and speaking out on behalf of others.

MANK (2020) NETFLIX

Utilizing techniques from yesteryear, Mank offers something truly unique to this year’s crop of films that somehow feels both fresh and nostalgic. Even so, beyond the dazzling cinematography and gimmicky techniques, the film has much to say about the power of truth at a time when image is king.

Mank is now playing in select theatres and will be available on Netflix on December 4th, 2020. 

Filed Under: Featured, Film, Netflix, Reviews Tagged With: Amanda Seyfried, Arliss Howard, Charles Dance, Citizen Kane, David Fincher, Gary Oldman, Herman J. Mankiewicz, Mank, Netflix, Orson Welles, Tom Pelphrey, Trent Reznor

Comfort Films #7: Air Force [GLASS]

May 15, 2020 by Steve Norton Leave a Comment

When times are tough, what stories do you turn to? Our new series, Comfort Films, is designed to look at the stories that are important to us and why they help bring us up with everything feels down. This week, Seeing and Believing’s Wade Bearden and Kevin McLenithan return to chat about uncovering the truth in Shattered Glass, good vs evil in Air Force One and life-giving honesty in Chef.

You can also stream the episode above on podomatic, Alexa (via Stitcher), Spotify or Soundcloud! Or, you can download the ep on Apple Podcasts or Google Play!

Filed Under: Featured, Film, Podcast Tagged With: Air Force One, Chef, Ethan Embry, Gary Oldman, Glenn Close, Harrison Ford, Hayden Christensen, Jon Favreau, Robert Downey Jr, Rosario Dawson, Scarlett Johansson, Shattered Glass

Darkest Hour – The Birth of a Legend

November 22, 2017 by Darrel Manson Leave a Comment

“He mobilized the English language and sent it into battle.”

Winston Churchill is an icon. He is most certainly counted among the greatest (if not the greatest) statesmen of the twentieth century. His voice and inspiring speeches are well known. He led Britain when they stood almost alone against Nazi Germany. And yet, no one really wanted him as Prime Minister. Darkest Hour shows us the early crisis that he faced on becoming Prime Minister, and how close to failure he came.

Gary Oldman stars as Winston Churchill in director Joe Wright’s DARKEST HOUR, a Focus Features release.

The film opens on May 9, 1940, just as Prime Minister Neville Chamberlain (Ronald Pickup) is being forced to resign because of his handling of the situation in Europe. While others in the party would like the Viscount Halifax (Stephen Dillane) to assume the leadership, he prefers to wait until “his time”. The only person who would be able to have the needed support of the opposition is Churchill (Gary Oldman), whom everyone loathes. He is seen as a failure, a drunk, too old (65), an inept bumbler who is too war hungry. Others would seek a diplomatic solution, especially since the entire British army is stranded at Dunkirk. (It is a happy coincidence that Dunkirk played this summer so we can have a better understanding of just how dire that situation was.) Even King George VI is upset that he must ask Churchill to become Prime Minister.

Over the next few days (the film only covers less than three weeks) Churchill must simultaneously try to save the stranded army, prepare the nation for war, and keep his government together even as members of his own party try to undermine him. At times it seems his only allies are his wife Clemmie (Kristin Scott Thomas) and new typist Elizabeth Layton (Lily James).

Lily James stars as Elizabeth Layton and Gary Oldman as Winston Churchill in director Joe Wright’s DARKEST HOUR, a Focus Features release.Credit: Jack English / Focus Features

The Winston Churchill we see in this film is not yet the legend he is to become. He is surely bigger than life. He is loud, rude, and self-absorbed. But essentially he is determined. While others are willing to seek peace with Hitler at any cost, Churchill seems almost alone in understanding that this is a battle against evil that must be fought. He will not allow the underhanded politics to stop him as he sets the British nation on a path to stand firm against Germany.

Much of the film deals with the question of peace. Is Churchill wrong to discount the possibility of peace talks to avoid the war? When Halifax makes his case, it is not unlike the arguments made before any war—arguments that many in the US made before the Iraq War, for example. And there are many who find those arguments persuasive. Looking back at history, we understand why Churchill felt he must stand firm against Hitler. But in the few days that this film covers, that sentiment was far from obvious. It meant that Britain would be standing alone against a powerful adversary.

Gary Oldman stars as Winston Churchill in director Joe Wright’s DARKEST HOUR, a Focus Features release.
Credit: Jack English / Focus Features

This is not just a story of legend coming to be. It shows us his very human, at times even eccentric nature. While we generally think that Churchill was the obvious person to lead Britain at that critical time, in this film we see that it was a job he grew into—and had to do so very quickly. We also get to hear bits of his early speeches—speeches that won the support of the British people in what would be a very trying battle for the nation’s very life. There are reasons that we view Churchill as an icon. We see the beginnings of that in this film.

 

Filed Under: Film, Reviews Tagged With: Dunkirk, Gary Oldman, Joe Wright, Kristin Scott Thomas, lily james, Stephen Dillane, Winston Churchill, World War II

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