Netflix’s Mank – A Majestic Love Letter to Old Hollywood

Citizen Kane – a film whose existence yields a vast variety of reactions. Many people consider it the greatest film ever made. Some roll their eyes and scoff at it, calling it “overrated” for one reason or another. Regardless of what one’s opinion on the film itself is, when it comes to discussing it, the conversation often focuses on one man – Orson Welles. In fairness, this focus is justified as Welles directed, produced, and starred in the film. However, director David Fincher and company decided to make a film focusing on another important person in the process – writer Herman J. Mankiewicz. Mank tells the story of the tempestuous process involved in getting Citizen Kane’s screenplay written, as well as Mankiewicz’s personal Hollywood history that inspired the screenplay. It’s also one of the best films of 2020.

Mank follows Herman J. Mankiewicz (Oldman), or “Mank” as he preferred to be called, in a variety of ways. He was a very talented screenwriter with a flair for incisive observation and dry, satirical humor. He was something of a mentor to his younger brother Joseph (Tom Pelphrey), who would go on to become a very successful writer and director in his own right. Mank was also a notorious gambler and alcoholic. And he ran in major Hollywood social circles, being strongly connected to titans of the day like newspaper tycoon William Randolph Hearst (Charles Dance), actress Marion Davies (Seyfried) who was also Hearst’s mistress, MGM studio boss Louis B. Mayer (Arliss Howard), and notable producer Irving Thalberg (Ferdinand Kingsley).

The thorny and mercurial nature of these Hollywood relationships, fueled by alcohol, formed the backbone of Mankiewicz’s screenplay for Citizen Kane. The film uses flashbacks to show how Mank was seen as a talented and well paid writer, but also how he eventually fell out of favor with Mayer and Hearst. And then in came Orson Welles (Tom Burke) as the wunderkind who had been given free reign to make any kind of film he wanted with whoever he wanted. Welles chose Mank, but insisted Mank take no credit for the writing, which became a major source of bitterness and frustration between the two men.

Oldman is simply superb playing Mankiewicz. He captures the man’s wit and wryness. He also strongly handles the physical depiction of Mank’s alcoholism. Collins is headstrong and sweet playing Rita Alexander who took care of and assisted Mank as he was writing (and unsuccessfully trying to sober up) following an automobile accident. Seyfried infuses Marion Davies with a knowing intelligence and a devilish charm. Dance brings a gravitas to William Randolph Hearst that makes it immediately clear why Hearst was so respected and feared. Howard gives an energy to Louis B. Mayer that shows how he is both a powerful studio boss, but also a bit of a sentimentalist. Kingsley lends aspects of shrewd cleverness and callous power to Irving Thalberg. Pelphrey plays Joseph Mankiewicz’s evolution from a uncertain newcomer to a confident Hollywood player very nicely. And while Burke may not perfectly capture Orson Welles’ voice, his performance still gives enough to show why Welles was the charismatic dynamo who still remained an outsider in Hollywood at the time.

What makes Mank as a film sing so well is its own screenplay. It was written by Fincher’s father Jack prior to Jack’s death in 2003. It was supposed to be David’s next film following The Game in 1997, but wasn’t made because the younger Fincher wanted to shoot it in black-and-white. Jack Fincher’s writing excellently mirrors Herman Mankiewicz’s own style. There’s a lot of dry and sarcastic humor peppered through the film that adds a fun bit of levity to dialogue heavy scenes and scenes focused largely on people sitting around with a pencil and paper. That dialogue is also very rich and allows the actors to engage in conversations that are closer to verbal duels than simple talking.

The black-and-white cinematography courtesy of Eric Messerschmidt is utterly gorgeous. It captures the beauty of modern Hollywood while still giving it the look and feel of Hollywood’s golden age. Trent Reznor and Atticus Ross continue to be a powerhouse duo with the film’s score that somehow manages to be beautiful and complex, despite the film using classic mono sound. And the period costumes and sets are well designed and fit the style of the era wonderfully.

In the end, Mank is one of those movies about movies that works on all levels. A top notch cast, led by Oldman, delivers fantastic performances across the board. Jack Fincher’s script is a thoughtful and funny love letter to old Hollywood. David Fincher’s direction is great from fade in to fade out. Eric Messerschmidt’s cinematography is vibrant and lush. Trent Reznor and Atticus Ross’ score is sublime. Hopefully it is a film that Herman J. Mankiewicz would have been proud to see get made.

still courtesy of Netflix

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Guest Writer