“Collateral” (2004)
The Best of Michael Mann — Vol 4.
Although only fourth in my all time affections for the films of Michael Mann, this was the perfect cinematic combination for an unabashed fan of Tom Cruise and the master storyteller behind the camera. I love Tom Cruise films purely on the basis that we’re all actors on life’s turbulent stage, and Cruise plays the part of superstar movie actor par excellence. But here, for perhaps the first time in his career, he was playing an out and out bad guy, a heartless assassin that doesn’t seek approval or an audience quixotically and counter intuitively cheering him on. No real layers, no arguable redeeming features. Just a cold blooded assassin. The film’s heart and soul resides in the working man thrown into a maelstrom of madness, and that’s where and why Collateral is a magnificent film.
But as you’ll read below, I’m a rather myopic fan of the films of Michael Mann! Having previously re-released The Last of the Mohicans (number 5) and now Collateral at number 4, the debate can continue to rage as to which films reside in my top 3 or, you can dive into the opus blog article on the entire cinematic career of Michael Mann immediately below. 2015’s Blackhat is missing as the film was rather missing too and I’m pretending it doesn’t exist! But all nine of Michael’s previous films are here and in the coming days I plan to re-release my top 3 films in descending order, starting with number 3 and…….
“Max. I’m Vincent”.
With a slightly different take on this overlooked classic in the cannon of Michael Mann, I’m going to appraise the first twenty minutes of this breath taking and sublime movie:
With no opening credits we are straight into the film and a casual collision between “Vincent” (Tom Cruise) and “Airport Man” (Jason Statham) whereby briefcases are exchanged. Quickly cut to our second main character “Max” (Jamie Foxx) awaiting repairs on his taxi. More quick cutting between Vincent and Max sets the scene for the film, of differing people, differing lives and differing motivations. Vincent is seemingly cool and in control, well dressed and appearing to be travelling to a business meeting, whereby Max is casually dressed and more pressed, pressured and wanting to go about his day and earn a living.
It’s abundantly clear just minutes into the film that this is a Michael Mann production, with trademark quick editing, constant mixes of long and close up zooms and particularly long and well used overhead crane shots. It’s stylised, glossy and typical Mann, using the bright lights of the city as a backdrop wherever possible and continually focusing on these via reflections in the taxi windows. Two Directors of Photography were used on this film and both deserve credit for their achievements, as when within the confines of Max’s taxi, their work is expertly shown. Take a bow Messrs Dion Beebe and Paul Cameron! Adding to the stylised feel is a fantastic musical score from James Newton Howard. Naturally.
Foxx as Max dominates the opening fifteen minutes, often staring at his postcard of a Maldives beach and taking a few seconds before driving to his next pick up. With two dashboard cameras, one directly on the face of Max and one on Max and the back seat customer, you are immediately immersed in his world and of his reactions to his customers telephone conversations and observations. Picking up “Annie” (Jada Pinkett Smith), Max visibly softens and their interplay builds to a gentle teasing and flirting, backed by the brilliant “Hands of Time” by Groove Armada, and as Annie departs, Max hands her the postcard of the beach and receives her telephone number in exchange.
The gorgeous beginning of the film continues to the strains of Bach’s “Air on a G String” as Vincent now enters the taxi and through their awkward inter play it becomes apparent their world’s could not be any further apart. Vincent, prone to speaking in bursts of statements and so called truths, whilst a now more melancholic Max is quieter and more reflective. This perfectly crafted opening twenty minutes comes to a conclusion with a simple, if pressured, offering from Vincent. Several hundred dollars if Max will be his unofficial chauffeur for the evening whilst he visits five friends in the city, with an extra bonus if he makes his early return flight.
Reluctantly accepted, the beautiful and gentle beginning is shattered as Vincent’s first victim of the evening crashes on top of the taxi.
A stunning and sublime Michael Mann masterpiece has begun.
With cameo and supporting performances from Mark Ruffalo as “Fanning”, Barry Shabaka Henley as “Daniel” and Javier Bardem as “Felix” set against a backdrop of superb set pieces in a nightclub, a jazz club and a riveting train sequence, this film moves along at a good pace and always retains that Michael Mann ingredient of stylistic violence, intrigue and tension. The jazz club scene in particular encapsulates all of this (and more) as we see three friends seemingly enjoying each other’s company, sharing stories and laughs and a shared love of jazz. Cut and edited quickly between the three, mainly head shots throughout with the editing gaining speed, the tension increases as the laughs and smiles fade.
Another telling yet short scene leads to the main theme of the film, that of human nature and our roles within it and of Vincent’s detachment from everything to achieve his goals. Sitting at a red light, the first of the film as Max is fond of saying “I got lucky with the lights” first one, then another wolf crosses a busy suburban road, oblivious to life surrounding them. A small and important metaphor for the film.
With a brilliantly written screenplay from Stuart Beattie, it’s the two leading roles that unsurprisingly dominate the film, their differing lives, attitudes and beliefs a central core. Vincent is a methodical, technical and detached cold blooded killer. He lives his life seemingly as though every day or every hour could be his last and mocks Max for not doing the same, for living in a future that isn’t attainable and chasing dreams that can’t be caught. Vincent goads and pushes Max to the point where Max begins to regurgitate his phrases and sayings. Their scenes together in the taxi are key, as we begin to understand each character, and see their constant psychoanalysing of each other seeing their merits and faults, frailties and redeeming features.
A gem of a film that thoroughly deserved more than it’s sparse two Oscar Nominations and deserved many more. However Jim Miller and Paul Rubell were deservedly nominated for Best Editing and Jamie Foxx rightly acclaimed and nominated for Best Supporting Actor.
Thanks for reading. Just for larks as always, and always a human reaction rather than spoilers galore. My three most recently published film articles are linked below or there’s well over 200 blog articles (with 400+ individual film reviews) within my archives from which to choose:
