An industrial technical production and creation that breaks away from pure art! Technology overshadows artistic expression.

Doug 2022-01-03 08:01:40

A very interesting work, top production, fast switching shots, dense lines, found a certain balance between the details and the whole, so that it has neither become an art nor a business. It lies between the two and is a new form of traditional American film being modernized and innovated. Of course, the use of black-and-white images is not particularly necessary, exposing great problems at the image level. First, the color tone is not pure black-and-white film aesthetics. It is more modern, and to some extent it is a product that is too technical. The second is that the texture of the image is very weak, which relatively weakens the fusion of the film’s carefully designed scenes and group dramas. I actually don’t I like this black-and-white feeling, which is much worse than the image quality of the Cold War, not to mention the more artistic digital images of the contemporary era. I think Vinci may not be so sensitive to the color of the image, so he made this kind of low-level but fatal mistake. Especially for a movie fan like me who uses images as the basis of movies, I may dislike its tone and lack of black and white artistic sense. The abuse of technology brings the image as a whole and was sentenced to death from the basic level. I think Hollywood It is necessary to be alert to this error. As far as the script is concerned, I like the middle and the latter part. I think there is still room for simplification in the front. This script is not as good as social networks because it tries to carry too many opinions, but the film is not deliberately pursuing the art of expressing opinions. What is its core? I think what I see from this work is a kind of balance, trying to balance too many things to form a main line of view. I don’t think it is wrong, but I think Vinci’s strengths are just being played relatively, in fact Lost a focus. It is this work that is dispersed and balanced without being concentrated. In the final analysis, the script production level has deliberately realized this kind of cinematic rather than artistic design. The color tone of the image is adjusted to a gorgeous color effect. Generally speaking, Vinci's strength is still in it, that is, he has made too many low-level mistakes that should not be made!

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Extended Reading
  • Chase 2022-01-03 08:01:40

    I'm afraid there will be more homework to watch this film than last year's "Once Upon a Time in Hollywood". Compared to the current words, the intermingling of Hollywood and politics in the golden age is indeed a very interesting subject, and the original "Citizen Kane" itself also has a strong political significance (even the personal favorite of Big D). But now that the original work has completed an allegory of Hirst and politics, the behind-the-scenes story of the filming is still focused on this, which is a bit superfluous. The hard work that old Vinci put into it is obvious to all, but for Mank, a screenwriter who has a serious self-destructive tendency but retains a trace of idealism, Sokin is obviously the most ideal writer, and Vinci and Sokin’s "Social "Network" is the best tribute to "Citizen Kane"

  • Elza 2022-03-27 09:01:12

    There are so many characters, dense lines, and too much information, so that the audience cannot relax in the process of watching. This is "Mank", a film with a very high threshold. It is aimed at how Mankiewicz wrote the script for "Citizen Kane", and more importantly, it shows the appearance and politics of Hollywood in the 1930s, which is also considered to be David Fincher's version of "Once Upon a Time in Hollywood". ". From the picture to the sound, everything retro is trying to make it as close as possible to the movies of that era, and the narrative also adopts the reality, flashback and crossover of "Citizen Kane". In the film it is Mankiewicz against various high-ranking figures, and the off-screen streaming media Netflix is ​​also against Hollywood.

Mank quotes

  • [a drunken Herman Mankiewicz sits at the corner of a large dinner table at an elaborate costume party, hosted by William Randolph Hearst and Louis B. Mayer. Instead of tinking on a glass to get the guests' attention, he slashes his glass with a knife. Gasps fill the room as he rises from his seat]

    Herman Mankiewicz: I've got a great idea for a picture, Louis. A picture I just know you're gonna love. It's a modern day version of Quixote!

    [Mank realizes his voice echoes through the room, but he continues, circling the table full of silent guests]

    Herman Mankiewicz: Now I know none of you read, but you know what it's about. A deluded old nobleman, who tilts at windmills. So how might we update this story?

    Butler: [whispers to Hearst] Do you want me to get someone?

    William Randolph Hearst: No.

    Herman Mankiewicz: How about we make our Quixote... a newspaperman? Who else could make a living tilting at windmills? But that's not enough... no, he wants more than readership. He wants more than adulation, he wants love. So, he runs for public office, and because he's notably rich, he wins... no, w-w-w-wait a minute. Notably rich and powerful, can't win over an audience unless notably rich and powerful sees the error of his ways in the final reel. Notably rich and powerful and making no goddamn excuses for it is only admirable in real life. Isn't that right, Louis?

    [Mayer glares at Mank as he drunkenly attempts to light his cigarette with the massive fireplace at the end of the room, unsuccessfully. Marion Davies takes a swig of her drink]

    Herman Mankiewicz: So what do we do? Anybody? We give him ideals! Ideals that any dirt-poor, depression-weary audience can identify with. Our Quixote is against crooked trusts, he's for the eight-hour workday, fair income tax, better schools. Why, he's even for government ownership of railroads. And you know what we call those people?

    Male Guest: Communists!

    Female Guest: Anarchists!

    Herman Mankiewicz: No, our Quixote, he's a two-fisted muckraker. In fact, someone predicts that he will one day win the presidency and bring about, get this...

    [laughing uncontrollably]

    Herman Mankiewicz: ... a socialist revolution!

    Louis B. Mayer: What a bunch of bullshit.

    Herman Mankiewicz: Is it? Tell him, Willie. Tell him.

    [Silence]

    Herman Mankiewicz: Upton Sinclair used exactly those words to describe a young William Randolph Hearst.

    Louis B. Mayer: [leaping from his seat] You miserable bastard!

    Herman Mankiewicz: [bowing] How do you do?

    [Some guests begin to leave the room, but Hearst's and Mayer's eyes stay on Mank]

    Herman Mankiewicz: Our Quixote, he hungers, he thirsts, he lusts for the voters to love him, love him enough to make him president, but they won't. And they don't. How do you suppose that could happen? Could it be because, in their hearts, they know he values power over people?

    [More guests leave as Mank approaches Hearst, still seated]

    Herman Mankiewicz: Disillusioned in Congress, he authors not one single piece of legislation in two terms. Can you believe that? That'll take some writing. Placed in nomination for president... it's too radical for the boys in the back, his bid goes nowhere! But we're doing something. We're building sympathy!

    [Even more guests leave]

    Herman Mankiewicz: Rejected, he flees to lotus land, where his faithful troll, Sancho, has prepared a mythical kingdom for...

    [Mank eyes Davies, stopping himself totally]

    Herman Mankiewicz: Wait a minute. I forgot the love interest! Her name: Dulcinea.

    [Every remaining head in the room turns to Davies]

    Herman Mankiewicz: Funny, adventurous, smarter than she acts. Ah, she's a... she's a showgirl! Beneath his social stratum, but that's okay because true love on the big screens, we all know is blind. And she... well, she loves him, too. So he takes her away to his m-mythical kingdom,

    [to butler]

    Herman Mankiewicz: can I get a bicarb?

    [back to the guests]

    Herman Mankiewicz: Now, along comes nemesis, that's Greek for any guy in a black hat, nemesis runs for governor, and he's a shoo-in to win. Why?

    [points to Hearst]

    Herman Mankiewicz: Because he's EXACTLY what our Don used to be! An idealist, ya get it? And not only that, nemesis is the same guy who once predicted that our Quixote would one day preside over a socialist revolution. Our Quixote looks into the mirror of his youth and decides to break this glass, a maddening reminder of who he once was. Assisted by his faithful Sancho

    [pointing to Mayer]

    Herman Mankiewicz: and armed w-with all the black magic at his command, he does just this. Destroying, in the process, not one man... but two.

    [Hearst is clearly furious, but maintains his composure]

    Herman Mankiewicz: Well, what do ya think, Louis? Hm? Do ya think it'll play?

    [Mank finally belches onto the floor. Any guest who hasn't already left does so]

    Herman Mankiewicz: Don't worry, folks. The white wine came up with the fish!

  • Herman Mankiewicz: Irving, you are a literate man. You know the difference between communism and socialism. In socialism, everyone shares the wealth. In communism, everyone shares the poverty.