IR Film Review: MANK [Netflix]

Making a movie about Hollywood is always an interesting diatribe but depends on the connection to the material and how it phases through the different points of life shown. With "Mank", Fincher stepped out of his comfort zone on the extreme petulance at times of the human condition and places it more squarely in the notion of talent versus self-loathing. His father wrote the script of Herman Mankewicz, a gifted writer, who was always on the periphery of greatness. He knew the ins and outs of Hollywood but simply would not scratch the back of those that scratched his. The tricky element of making a movie like (much like Tim's Burton's "Ed Wood" in a way) is that it is hard for modern audiences to understand or even remember who Mank was. Film lovers and scholars do and it is a fascinating character study of the swirling black hole that some creatives can go into and yet still create some wonderful art by sheer force of will. It also in reflected by the fact that some of these creative people making the films have been through it in some way shape or form .

We see the dance that Gary Oldman as Mank makes. This is the most lyrical that Oldman has been able to be in a while. Churchill had a specific path of plot but it was about inhabiting and finding these points of humor in in between moments. Mank is a much simpler man. He likes simple pleasure and he makes a lot of mistakes. The interesting aspect is every character that comes into contact with him has a different relevance. Welles is almost the least of them. It is the women actually who show the balance within him and it definitely takes a delicate touch (lighter than Fincher will usually do --- just in terms of motivations). While Amanda Seyfried is good and a beautiful walk through the garden at San Simeon is wonderful retro and yet some of the most beautiful photography in a while, her essence of a pretty flower under the thumb of her dad who can't break out of the mold at times comes off a little simplistic. But the underlying romantic overtones, even if platonic, are well played and balanced. But that said, it is in those scenes that you really see the playfulness of Oldman in the part.

For many years even playing the baddie or various other roles, even Churchill -- though it was there too, one doesn't see that almost dancing twinkle in his eye. It was apparent in one scene for Louis B's birthday which double's as a romantic scene with Lilly Collins character who is his assistant. That scene moves into the garden scene with Seyfried. The relationship though with Collins' character is the more complicated one but played just at the right pitch. They are both involved wit others. But there quiet working element which hovers right at the point of familiarity and tenderness yet it never goes quite beyond. It is a beautiful line they walk. Oldman is trying to play a little bit younger than he is but Mank was ravaged by alcohol. Oldman did have some issues apparently earlier in his life (as many people do) and it is interesting to see how that reflects within his performance in the final scene which is both riveting and heartbreaking. But it also necessary and depressing but in a magnificent performance way because it is shot exactly in the right context.

Fincher does his certain crane shots throughout the movie but for the most part he keeps it simple and that elegance comes through. This is a heavily verbal story (much more wordy per se than any of his previous films). Now granted, like Welles, Netflix left Fincher along to make his movie likely. I believe he has had final cut for many of his films. But it is interesting to see the reflection of Hollywood, even in the rear view mirror, and how it is many of the same issues of creativity, politics, expectation, excess and the notion of self play into the perspective of the film. And the fact that the story itself does indeed revolve in the orbit of William Randolph Hearst who was Marion Davies father and of course the basis for "Citizen Kane" which is the film that Mank is writing, integrates the distinct irony and intricate nature of a human story set again the background of power, wealth and fame, both in how it moves mountains but also affects the life of the little guy through and through. B+

By Tim Wassberg