There have been many films that can be described as slick, cool and stylish. But, it all began with Thief in my opinion. It's an ultracool film that defines Michael Mann's filmmaking style - darker night shots, grey day shots, a synthesizer-led score, slow-pacing, most dialogues recorded at low volumes, loud gun shots, long and drawing takes and a minimalist approach to storytelling - it's all available in Thief.
It's sad that Mann's later films (including the late 2000s remake of Miami Vice) do not have the same energy as Thief or even his 90s masterpiece, Heat. But, enough about that. Thief is James Caan's film all the way but most characters are written and played well, that everyone has a fair share. Robert Prosky (whom I grew to love in Hill Street Blues) is brilliant as the mob boss, Tuesday Weld's role sadly was under-written. They gave her a history but left it right there. The best of it all was Willie Nelson, who in his first and only talking scene delivers a fine performance. I just loved how Willie as Okla kept staring at James Caan's Frank with joy and glee. It was a spectacular performance.
Thief has its shortcomings. Much like later Mann films, it's slow, the main plot is a little hard to follow (because the dialogues can be too observant), and importantly style can sometimes replace substance (like the improbable climax shootout), but it is nevertheless an early 80s gem and perhaps Mann's finest hour.
It's sad that Mann's later films (including the late 2000s remake of Miami Vice) do not have the same energy as Thief or even his 90s masterpiece, Heat. But, enough about that. Thief is James Caan's film all the way but most characters are written and played well, that everyone has a fair share. Robert Prosky (whom I grew to love in Hill Street Blues) is brilliant as the mob boss, Tuesday Weld's role sadly was under-written. They gave her a history but left it right there. The best of it all was Willie Nelson, who in his first and only talking scene delivers a fine performance. I just loved how Willie as Okla kept staring at James Caan's Frank with joy and glee. It was a spectacular performance.
Thief has its shortcomings. Much like later Mann films, it's slow, the main plot is a little hard to follow (because the dialogues can be too observant), and importantly style can sometimes replace substance (like the improbable climax shootout), but it is nevertheless an early 80s gem and perhaps Mann's finest hour.