Mank is a film that stands in contrast to the past works of David Fincher that explored the dark recesses of American society. Horror stories that hold up a mirror to the worst of humanity are traded in for a period piece centered in the Golden Age of Hollywood, studio heads bustling for the next magical picture that can sway audiences to spend their last dollar during the Great Depression. Newspaper tycoons and prominent political figures integrated into the culture of professional actors, writers, and executives that power the engine of what would become modern-day Los Angeles. Stuck in the whirlwind of it all is a writer/social critic/sarcasm expert Herman Mankiewicz (Gary Oldman) who would make one half of the duo (some say figurehead) behind one of cinema’s most valued experiences, Citizen Kane. Burdened by alcoholism and a fixation on gambling, the experiences of Herman through his interactions with elite social circles and the business of motion pictures changed the art of screenwriting and filmmaking for decades. 

Expectations should be tempered if someone is looking for a play-by-play narrative dealing with the making of Citizen Kane; Jack Fincher’s screenplay is more interested in following the pulse of the 1930’s motion picture industry, political discourse, and Mankiewicz’s sharp opinions on any societal matter that piques interest. It’s hard to say if the sardonic and clever passages of dialogue can be broken down into a simple IMDB synopsis section. Character study couldn’t be the applicable term because no credible amount of scenes take a chance to dive deep into the character of Herman; as a matter of fact, the character development in the film is not available, since the main vestige of the film is macro in focus. The lines flowing from the mouth of characters charmed the fascination of a viewing experience more than any of the characters could. Legendary figures such as Louis B. Mayer, William Randolph Hearst, and Marion Davies have a bigger presence in the annals of History Channel documentaries. The whip and zing of anecdotes on the events and people Herman recollects through flashbacks and his process of writing the screenplay for Kane make the film soar especially in the second half. 

Fincher’s direction is spotless for the most part acting as an homage to the era where the sound picture was starting to take shape as the new medium. The aspects of sound design, cinematography, dialogue delivery, and production design speaks to the era faithfully as a recreation of period-specific ways of the technical process. The score from famed duo Trent Reznor/Atticus Ross using instruments that would be viable in the time period to deliver moment after moment of incredible compositions, placing itself among the best works the two musical geniuses have crafted. Sound design by Ren Kylce is fantastic, bringing a compressed sound to the dialogue and music, adding distortion that feels the same as an old-timey film that has not yet been restored by modern sound equipment. Only a few things are better than when a film is able to make the black and white color scheme look so rich with the new modes of the visual medium; this would be a completely different experience altogether if Fincher decided to shoot this in color, as the black and white cinematography adds drama and prestige in a sleek decor.

Oldman, Amanda Seyfried, and Arliss Howard each bring something fascinating to each of their characters in a trio of great acting showcases. Seyfried finally has a role that feels like it will shift her career into a higher plane of stardom and respect; a celebrated actress for some time that has put in the work throughout the last decade that has led to a supporting role that will catch eyes for potential awards. Howard plays Louis B. Mayer as a man staunchly entrenched in the capitalist system and who wants to play like a loyal figure knowing that he sees the people under him and around him as either beneficial or hurtful to his aims of sitting on top of the motion picture industry hierarchy. The greater commentary on studio heads like Mayer and others who, during the time of the Nazi’s coming to prominence, were willing to turn the other cheek if it meant not losing out on the business of Germany, which is a great subplot that adds spice to the moments of conversation in the flashbacks of Herman’s mind. 

Mank is going to do wonders for the film buffs who appreciate the stories and figures that populated Hollywood’s historical past. The screenplay and technical aspects bring this film to the must-watch category. Fincher delivers a film unlike his usual style but still finds the strength to knock it out of the park and gives a platform for Herman Mankiewicz to be an individual that re-enters in the current pop culture atmosphere. Netflix has another winner in the original content catalog. 

RORSCHACH RATING:

Mental Health Moment: Herman’s struggle with alcoholism touched on an emotional core that brought to my mind the disease of alcoholism that runs in my family. As a kid, my grandmother would always stress to me never to follow in the footsteps of my uncles, aunts, and cousins in my mother’s family tree that succumbed physically and mentally to the bottle. It was a nightmare having to see family members letting alcohol turn them into something opposite of the good people they were. Arguments, physical abuse, and general destitution were the only thing being produced from this addiction. Growing older, I felt a sense of self-consciousness when it came to parties around my friends in college that featured social drinking; the traumatic events I witnessed were always in the back of my head. Presently, I have drinks from time to time but not a daily occurrence. Thankfully now as a grown man, I do not have the want or taste to constantly drown my body in spirits but I know that is not the case for many others. Addiction is a disease and once it becomes so strong that it takes over the daily routine, that is when help is imperative. If you, a loved one, or a friend is dealing with an addiction that can cause a downfall, it is imperative to reach out and get help.

If you or someone you know is reading this right now and you are struggling with suicide, depression, addiction, or self-harm - please reach out. Comment, message or tweet to us. Go to victimsandvillains.net/hope for more resources. Call the suicide lifeline at 1-800-273-8255. Text "HELP" to 741-741. There is hope & you DO have so much value and worth!

Victims and Villains is written Josh "Captain Nostalgia" Burkey (and produced by) and more. Music by Mallory Johnson and others. Mank is property of Netflix. We do not own nor claim any rights. Mank is now streaming exclusively on Netflix.

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