Citizen Kane has long been considered the shining achievement of Orson Welles. With many considering it to be one of the greatest features ever created. The unsung hero in the project in the eyes of many, however, is the outspoken and legendary screenwriter Herman J. Mankiewicz. Who provided much of the story and used the picture as his swan song to the industry.
Even if history tends to overlook Mankiewicz, many have brought attention to his efforts. And his story is the subject of David Fincher‘s newest feature Mank. Illustrating Mankiewicz’s life not just during his writing of Citizen Kane but also before and after it, Mank is without a doubt a technical marvel. And is often poetic as it tries to reach the levels of Citizen Kane only to end up falling sizably short.
Perhaps the most surprising piece of Mank is how unrecognizable the feature is as a David Fincher production. Where Fincher has experimented with style previously, with features like Fight Club and The Girl with the Dragon Tattoo, Mank is easily the most stylized film within Fincher’s legendary filmography.
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Every single technical element within Mank is dedicated fully to replicating a film that would have been made in the 1940s. From the gritty black and white cinematography by newcomer Erik Messerschmidt, to the audio design put together by Ren Klyce. Mank is a film that wants to transport audiences to the Hollywood of old and accomplishes that with elegance and craft. Where this choice will undoubtedly alienate plenty of general audiences, for cinephiles and fans of classic film this will stand out as a defining positive for the film.
Similarly impressive are the performances from the entire ensemble. Gary Oldman lives and breathes Herman J. Mankiewicz with Mank standing as one of his most impressive roles to date. Mankiewicz is immediately a complex character for the audience to appreciate.
He is a tragic character who has had his soul crushed for trying to do the right thing and stand for his beliefs. But at the same time is aggressive and combative to those who love him. He is disrespectful to a fault. Both in his carefree attitude when it comes to standing up for what he believes in and being toxic to those innocent around him. Yet somehow Oldman brings this all together; not just into a competent performance, but one with real merit.
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Both the film and Oldman work hand in hand bringing this character and the complexions which lay inside him to life. Fincher’s late father, Jack Fincher, wrote the screenplay for the film. It is clear he was inspired to capture this man, not as a one-dimensional saint or villain to service a traditional narrative. But rather as a living and breathing well-rounded character who is fighting for his life in the tar pits of Hollywood.
The cast beyond Oldman is also rich and memorable. Where no character is given a spotlight and compelling narrative like Mankiewicz, each actor is doing the most that they are given with.
Amanda Seyfried is daring and charming. Playing into the excitement and magic of Hollywood during this time. While Lily Collins keeps the context of America at this time relevant and haunting. Thus, helping the film stay grounded. Charles Dance and Tom Burke both chew up any dialogue they are given. Capturing the slimy and dirty underbelly of Hollywood, which ultimately gives the film its tragic depth.
Mank more than anything else is a harsh and often poetically upsetting look at the key figures who ran the industry during this era of Hollywood. The film basks in the mirage that is the magic of filmmaking. But it ultimately is a criticism of the power dynamics in the industry and just how toxic the business is.
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This focus is going to confuse many. Where the film’s plot revolves around the writing of Citizen Kane and the events that inspired Mankiewicz’s Academy Award-Winning screenplay, the film’s intentions are much larger. Unfortunately, it is here that the film’s screenplay starts to slip up.
Pieces of the plot within Mank are obviously paying homage to Citizen Kane, so is the core of the film’s identity. Early into Mank, the characters discuss the style of the Welles classic. Jumping around various vignettes of Charles Foster Kane’s life. Ultimately finding a deeper nuance and thesis. Though the film is a masterclass at using a limited runtime to create a larger than life story and character who seems to live beyond just what is shown on screen.
Mank attempts to do similar also jumping around the life of Herman J. Mankiewicz, showing various key moments. Where the film is always clear and easy to understand, it is undeniable that Jack Fincher is no Herman J. Mankiewicz when it comes to screenwriting.
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The narrative within Mank often feels cluttered and messy, biting off more than it could chew. Trying to do the character of Herman J. Mankiewicz justice. The film wants to subtly show the audience this world and the players within it. Letting the audience do the work to find the narrative but ultimately struggles.
The film lacks a certain confidence to fully commit to this with multiple dialogue scenes. Spelling out the film’s message a bit too obviously perhaps. And overall the film could have been drastically cleaned up. This, though, is far from a failure. The screenplay holds Mank back from being a true masterpiece, like the film it is trying to replicate.
Mank might stand as one of the most unique outings for David Fincher, but sadly doesn’t stand as one of the director’s best. The film is big in both plot and thematic weight, overall connecting on the latter despite a messy layout.
The film does this era in Hollywood and these characters justice. Offering a unique perspective that will push cinephiles, and add new context to a legendary classic. But also feels like it is dancing around an ultimate emotional catharsis that never quite is fully realized. Had the screenplay been further polished up this really could have been one of the best films of the year. As it stands, Mank might have to settle for “great” over “legendary”.