Mank

Mank (2020)

Well, what a fascinating yarn. Mank explores the cloak and dagger shenanigans behind the writing of the classic Citizen Kane screenplay. Initially hired to do the work uncredited Herman “Manc” Mankiewicz is bundled away from all distractions (like his family and the ever-enticing booze) and knocks out his “best work to date”. 

From the director of Seven, Fight Club and The Social Network you know you’re in for a vibrant expedition. I may be somewhat biased here as this auteur has been at the helm of many of my cherished favourites (least of all Madonna’s Vogue). David Fincher brings his trademark menace and charm to this exposé of the Golden Age of Hollywood.

What is it that is so bewitching about behind-the-scenes Hollywood? The corruption, the plastic surgery, the spin doctoring. Admit it, you love it! It satisfies that desire we all have to be in on the secret (speaking of which if you haven’t already, you must watch Wag the Dog). And forget the glamorous parties (of which there are many) just give me a table in the studio canteen where confidences are made and broken at the slicing of a salad tomato.

Anyone who, earlier this year, watched Ryan Murphy’s miniseries Hollywood and enjoyed the era but felt short-changed by the fun yet rushed narrative will be delighted here. This is the rich storytelling you deserved.

The dated sound quality, epic set-pieces and mischievous jazz score are faithful to the period and we’re helpfully ushered through this portrayal with the pleasant chattering of a typewriter setting the scene for each flashback.

Written by the director’s late father Jack Fincher, Mank peels back the velvet curtain to glimpse fears of a changing world and political paranoia. Despite its sometimes sinister tone the film succeeds in keeping proceedings crisp and fresh.

Chameleon Gary Oldman leads a suspiciously large British cast who all do a flawless job. He is brilliant as the alcoholic wordsmith. Charles Dance is reliably foreboding and continues to make any chair he sits on seem like a throne. Early Oscar buzz surrounds Mamma Mia’s Amanda Seyfried which feels a touch premature but I wouldn’t begrudge any cast member here a night of breathless anticipation come April. But remember; MGM has one star, and it’s the lion.

So, light a cigar, grill a hotdog and sit down to enjoy this invigorating hybrid of film noir and historical romance. 

9 Moxie Thumbs Up!