- #FILM THIEF 1981 MOVIE#
- #FILM THIEF 1981 PORTABLE#
- #FILM THIEF 1981 PROFESSIONAL#
- #FILM THIEF 1981 TV#
#FILM THIEF 1981 PROFESSIONAL#
Thief charts his dilemma as problems present themselves that seem unescapable, while giving us an ‘underground’ view of how these professional criminals operate. He drills, hammers, and in one unbelievable sequence, handles a long, custom-made burning rod to cut through a heavily enforced safe in a major bank.įrank wants to quit scoring hits for crime syndicates, but he needs a huge payday in order to leave for good and live a good life with his new partner Jessie (Tuesday Weld). I did not know there was a Razzie for that. This says that Thief was nominated for a Razzie for Worst Score of the year. They made quite a few not very good scores. Tangerine Dream’s music can be jarring, but with good intentions as it plays almost parallel to the work that James Caan’s character, Frank, does-which is to mount elaborate heists with an assortment of tools. Thief is one of the films cited in this 8 minute visual essay about the look and use of synths in 80s movies: This is an interesting, somewhat long piece on TG. (The early ‘80s were a great time for electronic film music, particularly with Vangelis’ breakthrough work for Chariots of Fire (1981) and Blade Runner paving the way forward.) In Thief, the famous Tangerine Dream (who did Sorcerer (1977) a few years back), lent their sharp and occasionally harsh electronic sounds to the film, sometimes even overwhelming entire scenes. Caan sees himself as a completely independent loner.
#FILM THIEF 1981 PORTABLE#
The film's opening sequence establishes Caan's expertise as he cracks a safe with a portable drill. He is a highly skilled professional thief - a trade he learned behind bars from Okla (Willie Nelson), a master thief.
#FILM THIEF 1981 MOVIE#
Nick James in his article ‘Thief: Where Nothing Means Nothing’ even alludes these to be anticipatory of similar scenes in Blade Runner (1982). As the movie opens, he's been free four years, and lives in Chicago. One of the most evocative opening scenes in ’80s American cinema surely comes from Thief, with the rain-soaked streets and glowing car taillights conjuring up the prospect of a noirish mystery, though it is difficult to label the film as a noir in the purest sense. “What are you doing in your life that is so terrific?” Caan sees himself as a completely independent loner. Thief, Movie, 1981 Pictures provided by: mozinor, bluethunder, mr dellorto, mike962 Display options: Display as images Display as list Make and model Make and year Year Category Importance/Role Date added (new ones first) Episode Appearance (ep.+time, if avail. The films opening sequence establishes Caans expertise as he cracks a safe with a portable drill. Quite similar in vibe to the distinctive and stylised HK films of, say, John Woo, where crime, moral justice and brotherhood are central themes, Thief channels early 1980s Chicago with the requisite grime and its grim dog-eat-dog worldview, but Mann’s deliberate use of cinematography and music is what makes it a standout if unconventional work (at least at that point in time). As the movie opens, hes been free four years, and lives in Chicago. In Thief, he introduces to us his remarkable talent for telling stories about organised crime-the precise inner workings of syndicates, the explosive dynamics between professional criminals and the cops who chase them, as well as the atmosphere of locales. I'm glad to have seen it and I hope Criterion is seriously working on this film.Michael Mann’s feature debut was a terrific one, and much like the Coens’ Blood Simple(1984), Thief announced the arrival of one of the finest filmmakers to emerge from the US in the last 30 years.īetter still, it revealed a filmmaker whose artistic sensibilities seemed fully shaped from the get go, yet he would go on to make such critical hits as Manhunter (1986), Heat(1995) and The Insider (1999).
Directed by: Michael Mann: Producer(s): United Artists. Taut and atmospheric thriller is director Manns feature film debut. The consequences are real and the suspense is incredible. A big-time professional thief likes working solo, but decides to sign up with the mob in order to make one more big score and retire. Mann takes old noir style and adds it to his gritty and dreamy criminal landscape of Chicago in the 1980's for a wholly original crime drama.
It's just an all around bad motherfucker of a movie. This is evident from his dazzling film debut as a director with Thief (1981). I can't say anything bad about this film. I don't know where I'd rank this but fuck.this may actually be my favorite Mann film. How the fuck did I never see this before?! LOVE LOVE LOVE the ending.
#FILM THIEF 1981 TV#
Granted.he had experience w/ commercials and TV but DAMN. Like someone said in the Drive thread, I can't think of seeing any other director's style and direction so honed in their damn first film in theaters. That's Mann's first feature film?! Jesus. Alright.so.I finally saw this after all the talk in the Drive thread.