Truly impressive how Michael Mann kept his filmmaking style over his entire career. And all began with this colossus of the 80'. So intense in so many moments and with a thief so cool and badass at once, this movie was superbly crafted on very lvl. Great combo between the soundtrack and the visually image. Almost flawless... the end could have been a slightly improved. 9/10
Mann displays the poetry, craft and sorrowful anger of the career criminal. Caan was never better than he is in Mann's portrait of a lonely nighthawk trying to obtain the American lie who must revert to nihilism to survive. Only when Frank divests himself of all of his business and personal entanglements can he seek proper, retributive vengeance. Professionalism seasoned with style is the finest art in Mann's world.
Interesting neo noir crime film, based on real-life criminal John Seybold. Perhaps sometimes a little bit boring, but watching shootouts and diamond thefts with Tangerine Dream soundtrack is worth your time. On the other hand, I will listen TD album Thief once again but not so sure about watching this film twice.
CINEMA _ Mann before the new technologies already owned the night. Beautiful light (dark) and music. Kind of the perfect trailer of the 80s still to come. But all the cosmetic in the world won't mask the poor storytelling. I guess Mann doesn't care : he's so often on the thin line with abstraction, forms, colours, metal (the scene where they open the safe, millions of stars shining almost making the viewer blind).
If Thief may not entirely earn the gravitas it all but groans with, God knows it looks the part. The weight James Caan carries on his Chicago-sized shoulders only grows as the stakes get higher and his associates shade sketchier, while the ink-black gutters, lining nights numbed null with neon, glimmer and shiver as if cut with a thousand diamonds and left to bleed dry. Tuesday Weld kills as a rueful beauty ruining.
An intense, neon-lit, existential character-study; as much about the psychology of the imprisoned mind as the more obvious crime story theatrics. Frank is a character who finds himself being slowly incarcerated by circumstance; his need for freedom forcing him down a path of almost Samurai-like self-cleansing through violent self-destruction. The first flicker of Mann as American cinema's preeminent modernist master.