EAT • SLEEP • REVIEW • REPEAT
MANK
It’s no Citizen Kane.
As a byword for cinematic greatness, many will be aware of Citizen Kane, if perhaps only in mythical terms. It’s that film no cinephile would be caught dead admitting they’ve never seen, a monolithic rite of passage for any film student. But what of its back story?
Widely lorded as one of the finest cinematic achievements of the twentieth century, Citizen Kane’s name will forever be etched into film lore, however, the stranger than fiction story behind its inception has become a little lost in the mists of time. Of course, there have been many documentaries that have hovered around Orson Welles’ classic, yet few have given the film’s background a significant mainstream platform.
That is, until now, as Netflix – the biggest streaming platform on the planet – and David Fincher – one of the biggest filmmaking names in town – combine to lift the lid on the wild world of Citizen Kane, Orson Welles, William Randolph Hearst, and the brains behind it all – Herman J. Mankiewicz.
With America amid the Great Depression and the gathering clouds of World War II on the horizon, scathing social critic and outrageous alcoholic Herman “Mank” Mankiewicz (Gary Oldman) races against time to finish the screenplay for what would become Citizen Kane. But with booze, his personal demons, and Orson Welles (Tom Burke) breathing down his neck, Mank must harness the bitterness of his past and his tumultuous relationship with Hollywood to turn in what would be his greatest work.
Films about films are an odd bunch. As a sub-genre all of its own, movies capturing the filmmaking process have been around since day dot, as the industry never seems to tire of looking at itself in the mirror. The process of making a film is a turbulent, intriguing, and often downright bizarre one that lends itself well to the big screen treatment, yet while there are many fine examples of this brand of behind-the-scenes cinema, there are just as many self-absorbed bores out there.
And this is the thin line that Mank must walk, however, despite its fair share of bright moments, the film hits the same problem as many likeminded efforts. Dripping with monochrome style and written with scattergun swagger, there’s little doubting Mank’s commitment to evoking an Old Hollywood era of style, intrigue, and dirty politics, yet there’s something missing.
Working from a script penned by his late father and with a clear reverence to Citizen Kane and its colourful history, the passion and dedication of David Fincher in recreating the energy of the period is admirable, ensuring Mank is a sight to behold if nothing else. With the help of DP Erik Messerschmidt, Fincher utilises several techniques, including the frequent use of deep focus (a style brought to prominence by Citizen Kane itself), to get us as close as possible to the era, however, something ultimately rings hollow about it all.
Frequently getting caught up within itself, Fincher is so lost in the feel of Old Hollywood and the desire to dig deep into Citizen Kane lore that he totally forgets to deliver a satisfying story. Despite its impressive looks and snappy dialogue, there’s no escaping just how cold Mank feels, as the director uses the freedom afforded to him by Netflix to completely overindulge his passion.
The result is a highly polished, impressive looking passion project that Fincher has been given free rein to make his own and make (primarily) for himself. With very little foothold for the casual viewer, Mank falls into the recurrent Netflix trap of allowing a high-profile director all the freedom and money in the world to be as self-indulgent as possible, an autonomy that has the potential for greatness, yet can just as easily melt into a mess of self-absorption.
As Fincher bounces Herman J. Mankiewicz’s story back and forth in time without much thought given to coherency or traction for anyone not versed in Hollywood history, there’s a haughtiness there that will likely be a turn off for many. Of course, it’s perfectly fine to expect a certain level of inherent knowledge in your audience, yet Mank throws so much your way and with little explanation that it will leave many adrift.
Mankiewicz is an infinitely fascinating character, a true Hollywood outsider in an era when such a thing was almost unthinkable, and the story of how he came to pen Citizen Kane is a wild one, however, there’s certainly something askew in the way David Fincher relays it all. Mank is by far Fincher’s most personal film to date, yet it’s also his most inaccessible, as he struggles to convey the story to the kind of wide-ranging audience Netflix will surely be looking to attract.
Although the story often struggles to find a rhythm, what can’t be denied is just how immersive Mank is as a viewing experience. Whether it’s the mono sound design, the black and white deep focus, or Trent Reznor and Atticus Ross’ gorgeous, evocative score, the film does a fantastic job of luring us into the heart of Old Hollywood, helped along by a Gary Oldman performance among his finest.
Far more playful than his usual output, Oldman’s Herman J. Mankiewicz is part slapstick, part tragedy as he talks and drinks his way around Tinseltown. Rattling off dialogue like it’s going out of style and diving deep into Mank’s debilitating alcoholism, Oldman takes charge of the screen like only he can, making the most of the incoherent script and riffing with the fine ensemble around him to offer something special.
Clearly having a whale of a time with Mank, Gary Oldman is in his element as he bounces around his surroundings, and while there are times when the film itself rings hollow, this is certainly not the case with its star. Although the plotting and pace frequently bog Mank down, it’s often Oldman’s energy alone that keep things interesting and keep us hooked on the enigmatic mind behind Citizen Kane.
While you cannot fault David Fincher’s dedication and commitment to the story, in execution, Mank feels like a hollow passion project that spends more time penning a love letter to its subject than telling a compelling story. Impeccably evoking its era, the film is a sumptuous ode to Old Hollywood that combines sharp dialogue, captivating performances, and a host of audio and visual tricks to keep us engaged, if not wholly satisfied. With little foothold for the casual viewer, Mank is a cinephile’s wet dream, yet for anyone else it will likely fall flat.
