THIEF

(March 1981, U.S.)

For the purpose of writing this post, I re-watched Michael Mann's THIEF for the first time in over ten years. While I was watching it, I was repeatedly overwhelmed with thoughts that began with "I remember" and "Whatever happened to?" Whatever happened to major motion pictures directed by Michael Mann since PUBLIC ENEMIES ten years? Whatever happened to the intense, edge-of-your-seat thriller that wasn't necessarily a hardcore action film? Whatever happened to movies scored by the electronic musical genius of German band Tangerine Dream? I remember when I was addicted to the music of Tangerine Dream through much of my new age music obsession during the 1990s. I remember when actor James Caan was a real bad-ass son of a bitch, even when he wasn't a Corleone. I remember when THIEF was considered my favorite thriller before it was eventually replaced with John Frankenheimer's 1977 film BLACK SUNDAY. All of this is not to suggest that THIEF is a perfect thriller. Michael Mann's touch for this genre would later be improved, in my opinion, with later films like MANHUNTER (1986) and HEAT (1995). However, for a period at the beginning of the 1980s prior to the action vehicles of men like Harrison Ford, Sylvester Stallone and Arnold Schwarzenegger, THIEF fits in perfectly among other thrillers of 1981 that include ESCAPE FROM NEW YORK and NIGHTHAWKS.

James Cann plays Frank (no last name is given), a professional safecracker and jewel thief seeking to escape his life of crime and settle down to a normal and structured family life with his girlfriend Jesse (played by Tuesday Weld), even as he fronts his criminal enterprises with a successful Chicago car dealership and a bar. After taking down a successful diamond score with his partner Barry (played by James Belushi), Frank is inevitably sucked into meeting with the unknown high-level fence and Chicago Outfit boss ultimately behind all of the operations he's pulled off so far, Leo (played by Robert Prosky). Leo expresses his admiration for Frank's style and professionalism for eyeing quality stolen property and offers him the opportunity to work directly for him, offering large profits and extra incentives. As a "self-employed" independent contractor who answers to no one, Frank is reluctant and doesn't hide his verbal contempt in working for a crime boss, not wanting to increase his exposure. However, it's easy to give in to the temptations of the favors a man like Leo can provide, including access to a beautiful house, a new baby boy, and protection from corrupt police shakedowns. Frank eventually gives in to a large scale diamond height in California organized by Leo for what's promised to be a promised cash payoff of over eight hundred thousand dollars. Returning from the successful job, Frank is screwed when he receives only a fraction of what he was promised. Frank pulls a gun and tells Leo that their deal is over and takes the cash as he leaves, demanding the rest of his money in twenty-four hours. Before any of this can happen, Frank is captured and told the true nature of things. Leo owns him, his career and his family and will destroy all of it if Frank doesn't continue to work for him at his demand. Now a man with a hardened heart, he sends his wife and child away forever and blows up his house and his businesses. With nothing left to loose, he seeks revenge against his enemies, armed only with a single pistol. One man against many, Frank destroys all those who sought to destroy him and walks away into the night, his future uncertain.

THIEF being Michael Mann's feature film directorial debut, it features many of the cinematic techniques that would be his trademarks in the years to come, including cinematography, which utilizes light and shadow to give a strong sense of danger during scenes taking place at night. The film pays close attention to meticulous detail, even employing the consulting advice of real-life thieves to serve as technical advisers. As a thriller, it hold a much higher level of intelligence as it may be compared to some of the more modern heist films we've seen over the last two decades, including two many OCEAN'S films. James Caan is the traditional tough guy with a gun who still manages to make us believe that he can love in the traditional sense, if only given the proper change. Tangerine Dream provides some of the best cutting-edge electronic music that combines intensity, as well as a moody soundscape at the beaches of California (I own the soundtrack!). As previously stated, I miss them and would love to see them perform live, if only they'd come to New York.

Favorite line or dialogue:

Frank: "I am the last person in this world...that you wanna fuck with!"