THIEF is a pure dose of most of what I love about Michael Mann. It’s moody, atmospheric and macho as hell. It matter-of-factly drops us into a gritty underworld, makes us feel like we’re witnessing the real deal, and puts us on the side of a guy who has no business being the good guy except that he lives by more of a code than the other guys do. Not even really a code of honor, just a self-serving code of independence, but one that we can loosely apply to more ethical aspects of our own lives.
By today’s standards it’s an arty movie, full of long, quiet scenes, not a bunch of noises to tell you it’s exciting. It opens with a 10 minute heist sequence where everything goes right. No one gives chase or almost sees them. They’re just very professional about it and perform their jobs well. And it doesn’t need tension. It’s fascinating without it.
It’s a movie that’s low on exposition, high on uncomfortable moments where we aren’t expected to agree with the protagonist (like the aggressive way he courts Jessie [Tuesday Weld], and then the heartless way he cuts her off, treating her as a property that’s been tying him down). But also it has plenty of moments of badassness, not shirking its duty to deliver on the genre goods. Its closest modern equivalent is DRIVE, which at times plays as an homage or ripoff of THIEF. But that’s a character, believe it or not, with more heart. (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.