194 reviews
I've always been impressed by Micheal Mann's films. Starting with The Insider, I was intrigued by his camera-work and the use of music to compliment a scene.
With Thief, his directorial debut, he shows what movie fans will be in store for over the 30 years. Of course some of the techniques to steal are dated, but I loved the glossy, yet gritty atmosphere of the film. Tuesday Weld, was also quite good as Caan's love interest. It has an amazing ending as well.
The film is Waaaaaaay ahead of its time. And I was genuinely impressed with James Caans performance. This film is an underrated gem and should be viewed by Mann fans who liked Heat and Collateral.
8/10
With Thief, his directorial debut, he shows what movie fans will be in store for over the 30 years. Of course some of the techniques to steal are dated, but I loved the glossy, yet gritty atmosphere of the film. Tuesday Weld, was also quite good as Caan's love interest. It has an amazing ending as well.
The film is Waaaaaaay ahead of its time. And I was genuinely impressed with James Caans performance. This film is an underrated gem and should be viewed by Mann fans who liked Heat and Collateral.
8/10
Frank (James Caan) is a professional thief, who enjoys doing high profile jobs. He also owns an restaurant and sales cars for a living. He's tired of his other life as a thief. He hopes to settle down by having a wife, a family and a house. When he's been contacted by a mysterious business man (Robert Prosky). Which this man is the local crime boss of Chicago, who wants him to do a big score for him by robbing Diamonds. Once he succeed from his job, which Frank was hoping to be last job. But the mob boss turns on his back and treating his life by working for him until he dies. If Frank doesn't work for his boss, he will kill his wife (Tuesday Weld), his best friend (James Belushi) and destroy his entire life.
Written and Directed by Michael Mann (Ali, Heat, The Keep) made an stylish character drama is that extremely well directed and acted by the cast. Caan's performances makes this fascinating film works. It's certainly one of his best roles to date. The supporting cast are excellent as well, including Willie Nelson in a small role. This film was a box office disappointment, when it was first released. Now it's a cult classic... largely because of Mann's visual style, the performance, excellent cinematography by Donald E. Thorin (Midnight Run, Mischief, Tango & Cash) and Tangerine Dream's electronic score (Firestarter, Risky Business, Socerer). Look for some familiar faces as extras and bit-parts. Based on a novel by "The Home Invaders" by Frank Hohimer. Big time Hollywood Producer:Jerry Bruckheimer (Beverly Hills Cop, Black Hawk Down, The Rock) is one of the producers of this picture. This is a underrated movie worth seeing. (****/*****).
Written and Directed by Michael Mann (Ali, Heat, The Keep) made an stylish character drama is that extremely well directed and acted by the cast. Caan's performances makes this fascinating film works. It's certainly one of his best roles to date. The supporting cast are excellent as well, including Willie Nelson in a small role. This film was a box office disappointment, when it was first released. Now it's a cult classic... largely because of Mann's visual style, the performance, excellent cinematography by Donald E. Thorin (Midnight Run, Mischief, Tango & Cash) and Tangerine Dream's electronic score (Firestarter, Risky Business, Socerer). Look for some familiar faces as extras and bit-parts. Based on a novel by "The Home Invaders" by Frank Hohimer. Big time Hollywood Producer:Jerry Bruckheimer (Beverly Hills Cop, Black Hawk Down, The Rock) is one of the producers of this picture. This is a underrated movie worth seeing. (****/*****).
Saw this in the theater at it's release. Went back the next weekend and scenes were cut. They remain cut in every version I've seen since. Frank snaps chalk lines off traces of blueprints onto the safe face in the opening heist. Guess the crime commission didn't dig that, 'cause that 5 seconds is history in every cut I've seen since. How do the boys and their gear get up on the roof of the bank building? Rocket assisted grappling hook mortars firing mountain lines and Jumar ascenders from the parking lot. You won't see that scene anymore, either. Man, I miss the Corned Beefs at the Belden Deli on Clark where Frank hands the stones to Gags. Long gone. But if you are in Chicago, stop in early at the Green Mill and you might be able to have a drink in that big, round wood booth - still there. Great gun & car flick. Frank's .45 looks like a Bomar Svenson custom combat, tremendous. Watch for the High Standard 12 guage stakeout special at the end - very rare. Take a drive up north on Western Avenue to check out all the used car lots - still there. Great locations. Yup, the creme was ALWAYS cottage cheese at the old Oasis restuarants. Yuch! You know - Tuesday Weld actually even ACTS a little in this movie, amazing. Man that was a gorgeous house in my old neighborhood and yes they blew it up. Notice when they are snuggling on the outdoor patio - it had a two-sided fireplace - indoor and outdoor. Probably the best Chicago movie ever. The phone book and trash can - time honored tools of the early 80's. When I saw it opening night the theater was filled with every crook and detective on the north side with their wives. And everybody just nodded to each other on the way out. Those days are gone but not forgotten. Great, great flick. Cool TD soundtrack album, too. Also probably the best metallurgical movie ever. I want Frank's coat.
- tandkmoran
- Mar 26, 2006
- Permalink
This is one of the few Michael Mann films I can stand to watch. Caan is at his absolute peak here, with his intensity just blazing off the screen. The supporting cast is excellent, the edits are perfect, everything just clicks.
As has been noted by other reviewers, the technical aspects of this film are right on the money. All the locations are really there (or were at one time) and the settings didn't have to be faked up. Yes, Chicago and surrounding Chicagoland is really like this, folks.
I try to watch this thing every few years. Should buy a DVD, I guess, and insert it into my permanent circular film buffer.
Highly, highly recommended.
As has been noted by other reviewers, the technical aspects of this film are right on the money. All the locations are really there (or were at one time) and the settings didn't have to be faked up. Yes, Chicago and surrounding Chicagoland is really like this, folks.
I try to watch this thing every few years. Should buy a DVD, I guess, and insert it into my permanent circular film buffer.
Highly, highly recommended.
- SomeUselessGeek
- May 3, 2010
- Permalink
- arthurclay
- Jan 19, 2006
- Permalink
Frank (James Caan) runs a car lot, and also cracks safes. He likes Jessie (Tuesday Weld) at the diner who doesn't know what he does. His friend Okla (Willie Nelson) is dying in prison. A gangster Leo (Robert Prosky) wants to hire him to do scores. Jessie has a past with a dead drug dealer in Columbia and she likes the straight life now. He has a picture of his perfect straight life if he could get enough money together. So he decides to do a couple of big jobs taking along his partner Barry (James Belushi).
This is an early Michael Mann theatrical movie. It already has his crime realism style. James Caan is in solid form in one of his best performance. It has the intensity, and detailed crime drama. The production is not slick yet and has a gritty quality to it. The use of advisers really pay off for this movie.
This is an early Michael Mann theatrical movie. It already has his crime realism style. James Caan is in solid form in one of his best performance. It has the intensity, and detailed crime drama. The production is not slick yet and has a gritty quality to it. The use of advisers really pay off for this movie.
- SnoopyStyle
- Apr 14, 2014
- Permalink
Thief is written and directed by Michael Mann, who adapts the screenplay form the novel "The Home Invaders" written by Frank Hohimer. It stars James Caan, Tuesday Weld, Robert Prosky, James Belushi and Willie Nelson. Music is by Tangerine Dream and cinematography by Donald Thorin.
Frank (Caan) is a tough ex-con and expert jewel thief. He's working his way out to a normal life, but after being lured to a big job for the mob, he finds plans on both sides severely altered.
For his first full length theatrical feature, Michael Mann announced himself to the film world with some distinction, and in the process showed everyone what style of film making makes him tick. Thief is a film of stylised grit, visually, thematically and narratively. Set and filmed in Chicago, Mann, aided by Thorin, shoots the story through pure neo-noir filters.
At nighttime it is all a beautifully neon drenched haze, where the streets shimmer with dampness, a dampness brought about by the rain and god knows what else! By day there's a sweaty hue, a feeling that the heat is well and truly on, that even in daylight Frank isn't safe, his dreams may be a touch too far to reach. And no matter what the scene or scenario, Tangerine Dream are laying over the top a throbbing pulse beat, it's like The Warriors trying to get back to Coney Island, the music has a sense of dread about it, that danger is at every corner.
This part of Chicago stinks, it's a vile and corrupt place. Dirty cops everywhere, underworld criminals ruling the roost - Hell! You can even buy a baby if you want one. Is it any wonder that Frank just wants to settle down with a wife and child, to walk barefooted in the sea, to have domesticity? But Frank, as smart, tough and savvy as he is, seems to thrive on the edge of things, with Mann giving him earthy and honest dialogue to engage us with, marking him out as an identifiable every man protagonist who just happens to be an exceptional thief.
Mann's attention to detail is on show straight away, none more so than with the two key safe cracking jobs that are undertaken. Using genuine jewel thieves as technical advisers on the film, these sequences ooze realism, from the tools used, the pre-planning and the execution of the takes, it smacks of reality and does justice to the genuine feel of the characterisations brought alive by the superb cast. And finally Mann delivers a finale of ambiguity, a noir shaded piece of abruptness, an ending that perfectly fits the whole production. 9/10
Frank (Caan) is a tough ex-con and expert jewel thief. He's working his way out to a normal life, but after being lured to a big job for the mob, he finds plans on both sides severely altered.
For his first full length theatrical feature, Michael Mann announced himself to the film world with some distinction, and in the process showed everyone what style of film making makes him tick. Thief is a film of stylised grit, visually, thematically and narratively. Set and filmed in Chicago, Mann, aided by Thorin, shoots the story through pure neo-noir filters.
At nighttime it is all a beautifully neon drenched haze, where the streets shimmer with dampness, a dampness brought about by the rain and god knows what else! By day there's a sweaty hue, a feeling that the heat is well and truly on, that even in daylight Frank isn't safe, his dreams may be a touch too far to reach. And no matter what the scene or scenario, Tangerine Dream are laying over the top a throbbing pulse beat, it's like The Warriors trying to get back to Coney Island, the music has a sense of dread about it, that danger is at every corner.
This part of Chicago stinks, it's a vile and corrupt place. Dirty cops everywhere, underworld criminals ruling the roost - Hell! You can even buy a baby if you want one. Is it any wonder that Frank just wants to settle down with a wife and child, to walk barefooted in the sea, to have domesticity? But Frank, as smart, tough and savvy as he is, seems to thrive on the edge of things, with Mann giving him earthy and honest dialogue to engage us with, marking him out as an identifiable every man protagonist who just happens to be an exceptional thief.
Mann's attention to detail is on show straight away, none more so than with the two key safe cracking jobs that are undertaken. Using genuine jewel thieves as technical advisers on the film, these sequences ooze realism, from the tools used, the pre-planning and the execution of the takes, it smacks of reality and does justice to the genuine feel of the characterisations brought alive by the superb cast. And finally Mann delivers a finale of ambiguity, a noir shaded piece of abruptness, an ending that perfectly fits the whole production. 9/10
- hitchcockthelegend
- Sep 11, 2015
- Permalink
- danieledwards-87201
- May 20, 2019
- Permalink
Director Michael Mann sure loves his diner scenes. The scene in which Frank takes Jessie to the diner might very well be my favorite of the film, as it steadily proves that this more than just a film about heists and tough guys. James Caan is perfectly cast as Frank, and throughout the film he holds the weight of his performance up as if it were only five pounds, portraying Frank as tough, fearless and thick skinned. But in the diner, as well as in his interactions with Okla (played by Willie Nelson!!!) he is able to open us up to more. The photo Frank has in his wallet is a very strange yet alluring glimpse inside his mind and his heart that he would not otherwise show. Tuesday Weld's reactions as Jessie also help show us how he is slowly winning her over not just by being aggressive, but by showing vulnerability. From then on, I knew the film had established itself as a great one, as I now clearly understood Frank's true motivations. It proved to me that the film is just as much a character study than is a heist and gangster film. And boy, does it deliver on both fronts.
- ismaelslgd
- Oct 14, 2018
- Permalink
Thief is an uneven film with a few great moments. Mann's directorial style and the soundtrack by Tangerine Dream will hold your interest, but ultimately the payoff is lacking. This is more style and atmosphere over substance.
If I had to put it down to why the film doesn't quite work it's because it just never really conveys the motivations of the main characters well, or invests the audience in what happens to them. There are just no likeable characters, not even on the level of comic relief, wittiness or style. Caan's character is a run of the mill bad guy and just not particularly interesting.
Worth watching with expectations kept within reason.
If I had to put it down to why the film doesn't quite work it's because it just never really conveys the motivations of the main characters well, or invests the audience in what happens to them. There are just no likeable characters, not even on the level of comic relief, wittiness or style. Caan's character is a run of the mill bad guy and just not particularly interesting.
Worth watching with expectations kept within reason.
- gmaileatsyourlunch
- Jun 17, 2022
- Permalink
"Thief" is an unusual film in that there are no heroes....only thugs. The lead is the anti-hero, Frank (James Caan), a career thief who is great at his job...but who also is a loner. The rest of the folks in the film, including the cops and a judge, are crooks and cannot be trusted. But at least with Frank, what he says he will do, he will do...and so he's honest...in his own way.
While Frank is doing great on his own committing various high value robberies, he is approached by a mobster who seems to have everyone in his pockets. Leo (Robert Prosky) has a proposition...to rob a seemingly impenetrable safe. Frank agrees...but insists it's his last job, as he's retiring to a life as a husband and family man.
Amazingly, the actual robbery goes off very quickly and well...and the film actually spends very little time on what you assume will be the big finale. But instead, there is some misdirection...and 30 more minutes to the story after this deal is complete. Why? What is next? See the film.
Normally, stories with no heroes are very hard to watch and enjoy...but the story works so well with so many fine performances, direction and a great script that it manages to overcome the lack of likable people in the film. It's taut and exciting....and well worth seeing even if nearly everyone in the story is scum.
By the way, for 1981 the story is pretty rough and is NOT a film I'd recommend you see with kids or your mother. The language is very tough and the story is at times quite violent.
While Frank is doing great on his own committing various high value robberies, he is approached by a mobster who seems to have everyone in his pockets. Leo (Robert Prosky) has a proposition...to rob a seemingly impenetrable safe. Frank agrees...but insists it's his last job, as he's retiring to a life as a husband and family man.
Amazingly, the actual robbery goes off very quickly and well...and the film actually spends very little time on what you assume will be the big finale. But instead, there is some misdirection...and 30 more minutes to the story after this deal is complete. Why? What is next? See the film.
Normally, stories with no heroes are very hard to watch and enjoy...but the story works so well with so many fine performances, direction and a great script that it manages to overcome the lack of likable people in the film. It's taut and exciting....and well worth seeing even if nearly everyone in the story is scum.
By the way, for 1981 the story is pretty rough and is NOT a film I'd recommend you see with kids or your mother. The language is very tough and the story is at times quite violent.
- planktonrules
- Dec 15, 2021
- Permalink
Not a bad movie, James is of course excellent in it and the story is pretty good. But wow, did this start the 80s with the ridiculous over the top music that is played way too much and too loudly?
There are many scenes where there is nothing but people building things or walking and loud obnoxious music plays for minutes, much louder than any of the dialogue. Tangerine Dream of course is an excellent band so I will blame the people who created the movie for asking them to create this soundtrack.
Great acting, but it's like Lethal weapon without the fun and good dialogue. Maybe worth watching if you love James Caan.
There are many scenes where there is nothing but people building things or walking and loud obnoxious music plays for minutes, much louder than any of the dialogue. Tangerine Dream of course is an excellent band so I will blame the people who created the movie for asking them to create this soundtrack.
Great acting, but it's like Lethal weapon without the fun and good dialogue. Maybe worth watching if you love James Caan.
- steiner-sam
- Jul 7, 2021
- Permalink
'Thief' is one of the most underrated movies of the 1980s, if not of all time. Made in the early 80s by TV veteran Michael Mann, and co-produced by the future "king" of action blockbusters Jerry Bruckheimer, this movie can almost be seen as the transition from 1970s character based crime DRAMA to 1980s flashy but brainless 1980s crime ACTION. In that sense 'Thief' is the last great 1970s movie of the 1980s. Mann made at least two great movies after this ('Manhunter' and 'Heat'), but I still think it is is his best and most satisfying work. James Caan believes that the movie contains his finest performance and I'm inclined to agree with him. Caan is dynamite throughout. He oozes charisma and is impossible to take your eyes off, but also gives a subtle and complex performance. The film works both as an exciting caper movie, and as a human drama. In many ways it is the best crime film to pull that off since Dassin's 'Rififi' in the mid 1950s. Cann is helped by a superb supporting cast, who on the surface may seem a motley bunch, but all are very good - Tuesday Weld ('Who'll Stop The Rain'), Jim Belushi (his movie debut), a memorable cameo from country legend Willie Nelson, and especially a fantastic turn from Robert Prosky. Prosky is probably best known to most viewers as the kindly father-figure he played in 'Hill Street Blues'. His turn here as a ruthless gangster is a complete eye opener! Prosky delivers one of the most vicious lines ever heard in a movie, which is a bit too extreme for me to quote here, but believe me, you will never forget it when you hear it! Many people seem to find Tangerine Dream's dated synth score to be extremely irritating but I actually enjoyed it and thought it helped build the mood. 'Thief' is a hardboiled crime classic and is highly recommended to any fan of the genre, especially those made in the 1970s. It is wildly underrated and deserves to be rediscovered by a larger audience. 'Thief' is simply one of THE great "lost" classics of the last thirty years.
- Smells_Like_Cheese
- Jan 28, 2010
- Permalink
A "master thief" (James Caan) is trapped in a vice created by on-the-take cops and the neon signed Mr Bigs that run him and also the local big-time-heist business.
Crime will always appeal to B league directors such as Micheal Mann because they allow anything to happen at any time. Other films do not have this solid backbone and while they could be excellent (with luck and casting) and catch on, when they start to fail they can fail big. Like our friend the Western -- you can only go so far wrong in a script where anybody can shoot at anybody else at anytime. You are living in Cheap Thrills City.
What drags this movie down further is Mann's belief that scenes are better if played along to third rate electronic "excitement" music that just goes on-and-on-and-on. The beats of the music having nothing to do with what is happening on the screen -- like you are trying to watch a movie while your kid brother is playing music too loud in the next room.
The lead role suits Caan down to the ground -- although I don't really get him. He acts thick as a brick one minute (his speech at the adoption agency, for example) and a mastermind that can outwit the best minds in the security business the next.
The inspirational book is written by a criminal doing time they say and while some of it convinces -- others do not. The criminals start throwing (yes throwing!) tables about when out on the job. What is that about? I thought the first page of the safe crackers manual said to make as little noise as possible!
This piece is dated as today extra technology -- such as little old men who listen out for people throwing things about in the vault room or even CCTV. Or even technologies that don't allow you to open the vault in the middle of the night by telling them a code word! Yes -- it is that silly when you think about it.
Mann was still learning his trade when he made this film and while I am sure he could make it better today I am not sure that he can ever escape his own mediocrity and heavy handling. He should be grateful for the solid actors and actresses (including a late "sex interest" Tuesday Weld) that keep this thing afloat -- although even they can't reach out of the screen and turn down the crap video game music.
Crime will always appeal to B league directors such as Micheal Mann because they allow anything to happen at any time. Other films do not have this solid backbone and while they could be excellent (with luck and casting) and catch on, when they start to fail they can fail big. Like our friend the Western -- you can only go so far wrong in a script where anybody can shoot at anybody else at anytime. You are living in Cheap Thrills City.
What drags this movie down further is Mann's belief that scenes are better if played along to third rate electronic "excitement" music that just goes on-and-on-and-on. The beats of the music having nothing to do with what is happening on the screen -- like you are trying to watch a movie while your kid brother is playing music too loud in the next room.
The lead role suits Caan down to the ground -- although I don't really get him. He acts thick as a brick one minute (his speech at the adoption agency, for example) and a mastermind that can outwit the best minds in the security business the next.
The inspirational book is written by a criminal doing time they say and while some of it convinces -- others do not. The criminals start throwing (yes throwing!) tables about when out on the job. What is that about? I thought the first page of the safe crackers manual said to make as little noise as possible!
This piece is dated as today extra technology -- such as little old men who listen out for people throwing things about in the vault room or even CCTV. Or even technologies that don't allow you to open the vault in the middle of the night by telling them a code word! Yes -- it is that silly when you think about it.
Mann was still learning his trade when he made this film and while I am sure he could make it better today I am not sure that he can ever escape his own mediocrity and heavy handling. He should be grateful for the solid actors and actresses (including a late "sex interest" Tuesday Weld) that keep this thing afloat -- although even they can't reach out of the screen and turn down the crap video game music.
- seymourblack-1
- Apr 16, 2013
- Permalink
I believe Mann is a good director. From acclaimed works like "Collateral" and "Heat" to underrated gems like "Blackhat". He has always been known for creating gritty realistic crime thrillers. This all started back in 1981 with this uncommonly different piece of cinema. Having the desire to rid his past life of crime, a thief is hired for one final heist. However, we all know greed gets the better of us as soon he is trapped in a contract that requires him to perform more heists. If you're good at something, you will always be in demand. Much like our eponymous thief. This is a good solid thriller that is fuelled by dialogue. I mean, if a fifteen minute scene is just two characters talking in a diner, you know you'll need to focus on every word spoken. It's sharp, and I mean very sharp. The problem with this is that the need for dialogue feels far too forced. It's just fluff, and really doesn't develop these characters. The thief perhaps more than others, the supporting characters were redundant. I was completely disinterested during the first hour, I didn't connect with any of the characters and did not care for what was happening. James Caan was effortlessly in control though. Then the final heist begins and somehow my eyes are glued to the screen. Mann's slick urban directing style, the synthesised musical score, the flashing neon lights and city backdrop. It all worked. Then silencing the background music during scenes of tension, like breaking into the vault, was genius. I was intrigued by the thief's methods and thought it was intricately executed. Then the final twenty minutes arrive. I was in suspense heaven! I just wished the thrills were maintained throughout. Think of this as a precursor to "Heat". This is technically accomplished, whereas the latter is that and full of investing characters. A great debut though, just too much focus on dialogue that I didn't care about.
- TheMovieDiorama
- Feb 24, 2018
- Permalink
A prime exemplification of the action genre, and kick-ass protagonists. The electrifying atmosphere created by Michael Mann, is one to cherish for the ages. Thank you for everything Mr. Caan.
- fajarlegend
- Jul 7, 2022
- Permalink
"Thief" is a pretty interesting project. The Chicago locale is smoky and covered in blue hues; the characters all seem lonely or isolated from one another, and a sense of betrayal lies around every corner and plot twist. Michael Mann gives a preview of what would come in his later directed works, "Miami Vice" and "Heat", and sets the stage for later stylized, crime-romance flicks.
Basically the plot has been done to death by now, but back in the early '80s it wasn't so cliché. Frank (Caan) is a successful professional thief who makes his living with a small, loyal crew and operates under the front of a used car dealership. When a client is killed and some of his money is stolen, Frank goes out to find the perpetrators and finds himself involved in a deep underworld ring connecting mobsters and the police. As per usual, Frank is willing to do one last job in order to make enough money to retire with his sweetheart, but there's always a catch when making deals with serious high-level criminal organizations. Still it's pulled off pretty well. There are not specific twists, so much as well-placed acts and interesting thematic choices (for instance, the "big score" or "hit" or what-have-you, is given pretty minimal coverage when it happens).
The cast is effective. James Caan is as angry as he ever gets, Tuesday Weld is down-key and melancholy, Robert Prosky plays an unusually vulgar crime boss, Willie Nelson looks like he's about to cry every time you see him, and Jim Belushi comes across as a dopey, likable man-child. Of course, plot-wise, James Caan's character, Frank, functions as the hub around which all of their fates revolve.
There are a few weird moments. The conversation between Frank and Jessie (Caan and Tuesday Weld) at the coffee shop at night goes on for much longer than it needs to. Frank's scrapbook picture is a little bit... hokey or overly sentimental (but who knows, maybe badass thieves and killers have cheesy, soft, artistic expressions?) and the soundtrack at times seems out of place. Don't get me wrong -- the soundtrack is fantastic. It's by the German electronica group, Tangerine Dream. I generally love Tangerine Dream, but there are moments here when the music doesn't quite fit thematically (i.e. during the big safe job). It does not bother me, but folks who don't dig the extreme '80s synth-techno aesthetic might be irritated. As a stand-alone, the soundtrack rules, but with the film it can get a little over-the-top. (But the appearance of the "Beach Theme" is truly awesome, haha)
This movie is interesting for doing a number of things that seemed ahead of its time. At moments I was reminded of a darker version of the Peckinpah film, "The Killer Elite" (also with James Caan) and obviously some of the sad, desperate themes from Mann's big '90s achievement, "Heat". Also in line with "Heat" are the blue hues, the electronic music, the heart-broken romance (which here has equal elements of DePalma's "Carlito's Way" and the Tarantino-penned "True Romance"), and a good look at the criminal underworld.
Another DePalma movie, "Scarface", also explores themes initially found here. Like Tony Montana after him, Caan's Frank is a lone wolf in the underworld. He has equally violent and kind-hearted streaks, yet his destructive emotions tend to betray his best interests. Thus Frank (like Montana) is complex because he is both unlikable and angry and yet a far better person than his criminal counterparts in the underworld.
"Thief" is certainly recommended for any fans of James Caan, Michael Mann, underworld crime-thrillers, or any of the films mentioned above.
Basically the plot has been done to death by now, but back in the early '80s it wasn't so cliché. Frank (Caan) is a successful professional thief who makes his living with a small, loyal crew and operates under the front of a used car dealership. When a client is killed and some of his money is stolen, Frank goes out to find the perpetrators and finds himself involved in a deep underworld ring connecting mobsters and the police. As per usual, Frank is willing to do one last job in order to make enough money to retire with his sweetheart, but there's always a catch when making deals with serious high-level criminal organizations. Still it's pulled off pretty well. There are not specific twists, so much as well-placed acts and interesting thematic choices (for instance, the "big score" or "hit" or what-have-you, is given pretty minimal coverage when it happens).
The cast is effective. James Caan is as angry as he ever gets, Tuesday Weld is down-key and melancholy, Robert Prosky plays an unusually vulgar crime boss, Willie Nelson looks like he's about to cry every time you see him, and Jim Belushi comes across as a dopey, likable man-child. Of course, plot-wise, James Caan's character, Frank, functions as the hub around which all of their fates revolve.
There are a few weird moments. The conversation between Frank and Jessie (Caan and Tuesday Weld) at the coffee shop at night goes on for much longer than it needs to. Frank's scrapbook picture is a little bit... hokey or overly sentimental (but who knows, maybe badass thieves and killers have cheesy, soft, artistic expressions?) and the soundtrack at times seems out of place. Don't get me wrong -- the soundtrack is fantastic. It's by the German electronica group, Tangerine Dream. I generally love Tangerine Dream, but there are moments here when the music doesn't quite fit thematically (i.e. during the big safe job). It does not bother me, but folks who don't dig the extreme '80s synth-techno aesthetic might be irritated. As a stand-alone, the soundtrack rules, but with the film it can get a little over-the-top. (But the appearance of the "Beach Theme" is truly awesome, haha)
This movie is interesting for doing a number of things that seemed ahead of its time. At moments I was reminded of a darker version of the Peckinpah film, "The Killer Elite" (also with James Caan) and obviously some of the sad, desperate themes from Mann's big '90s achievement, "Heat". Also in line with "Heat" are the blue hues, the electronic music, the heart-broken romance (which here has equal elements of DePalma's "Carlito's Way" and the Tarantino-penned "True Romance"), and a good look at the criminal underworld.
Another DePalma movie, "Scarface", also explores themes initially found here. Like Tony Montana after him, Caan's Frank is a lone wolf in the underworld. He has equally violent and kind-hearted streaks, yet his destructive emotions tend to betray his best interests. Thus Frank (like Montana) is complex because he is both unlikable and angry and yet a far better person than his criminal counterparts in the underworld.
"Thief" is certainly recommended for any fans of James Caan, Michael Mann, underworld crime-thrillers, or any of the films mentioned above.
Michael Mann's stunning directorial film debut is a mesmerizing crime drama about a meticulous master jewel thief named Frank, brilliantly played by the late great James Caan in a bravura performance, who is caught between corrupt cops and a double crossing syndicate boss named Leo, excellently played by the talented character actor Robert Prosky. Frank just wants to make one big score so he can leave it all behind and retire to his dream of a wife, kids and a fine home. Flawless supporting performances by James Belushi in his screen debut, Tuesday Weld, and Willie Nelson, but it is Caan's ultra-cool performance that dominates this entire film. Highly stylishly cinematography by Donald Thorin, with an extraordinarily powerful score by Tangerine Dream that gives this brilliant film an exhilarating vibe. Masterful direction by Mann who has created a unique sense of heightened reality with his rain-soaked streets and neon-lit city that has since become his trademark style as a director. An atmospheric and exceptional cinematic achievement and one of the very best films of the early '80s.
- pinballwizard-83712
- Oct 13, 2022
- Permalink
This is a silently professional night-time jewel robbery , reduced to near-abstract essential and paced by a Tangerine score , sets the electric tone for Mann's follow-up to the Jericho Mile . Here a really professional robber makes one of the few mistakes in his meticulous career when he takes dangerous companions. He's contradictorily building and a risking a future mapped out as meticulously as any of his lucrative hi-tech jobs , testing his emotional and criminal independence to the limits , eventually recognising that he's either exercising or exorcising a death wish. Cheat him...and he'll blow you away ! .Tonight, his take home pay is $410,000...tax free !.
A philosophical thriller filled with modernist cool and long-standing musical score . The screenplay for this film was adapted from the novel "The Home Invaders", written by Frank Hohimer, an expert robber , in fact Hohimer was serving time in a state penitentiary at the time this film was in production . The picture packs action , violence , drama , shootouts with exciting scenes . And the final splatters bodies all over the pavement , somewhat compensating for the snail-like pace of much of the movie . Casting is frankly excellent , the main protagonists give first-class performances . Stars James Caan who gives a fine acting as the ace safe cracker wants to do one last big heist for the mob before going straight . After The Godfather (1972), this was James Caan's favorite film of his own . He had stated that some scenes and specially his monologue in the diner was the set piece of which he was most proud in his long career . Being well accompanied by the beauty Tuesday Weld , as usual , wasted as his wife . There are various film debuts of important actors . James Belushi makes a notable debut as Caan's skilful associate . Dennis Farina was a Chicago policeman at the time of filming , he played a hoodlum . Conversely, John Santucci, who performed a corrupt cop, was a recently paroled thief, and was a technical advisor. And also Robert Prosky film debut who was over 50 years old at the time of his first performance and would go on to have a notorious career as a prestigious secondary.
The motion picture was competently directed by Michael Mann , in his ordinary style. Mann has established himself as one of the most innovative and influential filmmakers in American cinema. After writing and directing the Primetime Emmy Award-winning television movie The Jericho Mile (1979), Mann made his feature-film directorial debut with Thief (1981), followed by executive producing the television series Miami Vice (1984). He went on to direct Manhunter (1986), The Last of the Mohicans (1992), Heat (1995), and The Insider (1999), Ali (2001), Collateral (2004), a film adaptation of Miami Vice (2006), Public Enemies (2009), and most recently, Blackhat (2015). As a producer, Mann's work includes Martin Scorsese's The Aviator (2004), Hancock (2008), Texas Killing Fields (2011), and the HBO series Luck (2011) and Witness (2012). Rating : 6.5/10 . Better than average . Well worth watching . The pic will appeal to James Caan fans.
A philosophical thriller filled with modernist cool and long-standing musical score . The screenplay for this film was adapted from the novel "The Home Invaders", written by Frank Hohimer, an expert robber , in fact Hohimer was serving time in a state penitentiary at the time this film was in production . The picture packs action , violence , drama , shootouts with exciting scenes . And the final splatters bodies all over the pavement , somewhat compensating for the snail-like pace of much of the movie . Casting is frankly excellent , the main protagonists give first-class performances . Stars James Caan who gives a fine acting as the ace safe cracker wants to do one last big heist for the mob before going straight . After The Godfather (1972), this was James Caan's favorite film of his own . He had stated that some scenes and specially his monologue in the diner was the set piece of which he was most proud in his long career . Being well accompanied by the beauty Tuesday Weld , as usual , wasted as his wife . There are various film debuts of important actors . James Belushi makes a notable debut as Caan's skilful associate . Dennis Farina was a Chicago policeman at the time of filming , he played a hoodlum . Conversely, John Santucci, who performed a corrupt cop, was a recently paroled thief, and was a technical advisor. And also Robert Prosky film debut who was over 50 years old at the time of his first performance and would go on to have a notorious career as a prestigious secondary.
The motion picture was competently directed by Michael Mann , in his ordinary style. Mann has established himself as one of the most innovative and influential filmmakers in American cinema. After writing and directing the Primetime Emmy Award-winning television movie The Jericho Mile (1979), Mann made his feature-film directorial debut with Thief (1981), followed by executive producing the television series Miami Vice (1984). He went on to direct Manhunter (1986), The Last of the Mohicans (1992), Heat (1995), and The Insider (1999), Ali (2001), Collateral (2004), a film adaptation of Miami Vice (2006), Public Enemies (2009), and most recently, Blackhat (2015). As a producer, Mann's work includes Martin Scorsese's The Aviator (2004), Hancock (2008), Texas Killing Fields (2011), and the HBO series Luck (2011) and Witness (2012). Rating : 6.5/10 . Better than average . Well worth watching . The pic will appeal to James Caan fans.
- rmax304823
- Jul 19, 2008
- Permalink