An Old Hollywood Story: ‘Mank’ Review
David Fincher has cemented himself as one of the most interesting and influential directors of our time. From Seven (1995) to The Social Network (2010), he’s rarely failed to create an uninteresting film. Like his films, his characters tend to be remembered through time; serial killers, genius entrepreneurs, and of course, who can forget — an unleashed Brad Pitt in a bright red leather jacket running around spitting philosophical ideas and blowing things up with soap?
In his most recent project, Fincher turned it down a notch. Mank is the story of Herman J. Mankiewicz, the writer behind the screenplay of Citizen Kane. He’s not crazy; just an alcoholic.
When Fincher announced his next film would be a biopic, fans of the director cheered as they pictured The Social Network, 2.0. In the end Fincher decided to go old school — a movie not only about Mankiewicz’s writing process of a film that has been regarded as one of the greatest of all time, but also a story about old Hollywood. Fincher shies away from his trademark cinematography style, instead opting for a black & white filter. He collaborated with Mindhunter director of photography, Erik Messerschmidt, whose influence clearly shows.
The technique of the film was its most enjoyable aspect. Mank shines the brightest in its technical aspects. The intricate production design, exceptional costumes, and as usual, a spot-on score by Trent Reznor and Atticus Ross that fits perfectly into the atmosphere of the film. There are huge, beautiful outdoor shots throughout the film, some of which are entirely matte paintings, adding further to their intrigue and importance.
Amanda Seyfried shines as a witty Marion Davies. Seyfried’s moments brought a little bit of life and excitement among the old, white Hollywood producers and writers that the movie focuses on. Her charisma comes through the screen time after time.
Gary Oldman isn’t too far behind; he is dedicated, as usual, at transforming himself into the snappy drama critic turned writer. Netflix will definitely be pushing for both of them to get the win at the next Academy Awards, although Seyfried is the clear standout here.
Mank, being the 1930’s historical drama that it is, sadly doesn’t leave much room for inclusive representation. That said, rest assured that Seyfried steals every scene she sets foot into. Also worth mentioning is Lily Collins, who makes a subtle but nonetheless impressive performance as Rita Alexander, Mank’s secretary who “types 100 perfect words a minute and takes dictation like a clairvoyant.”
In the end, Mank isn’t a movie for the masses. The screenplay isn’t as captivating and fast paced as some of Fincher’s past works, so I can’t imagine it appealing to the general public too much. It also released on Netflix, and unfortunately this is a film where a small screen release can take away from some of the details that make it so great.
In conclusion, if you are a fan of film history or you would love to hear the iconic Orson Welles’s deep voice in action, Mank is right up your alley. If black and white films about writers and rich people seems like it might put you into a deep sleep, maybe skip this one.
