“What are you doing in your life that is so terrific?” Quite similar in vibe to the distinctive and stylised HK films of, say, John Woo, where crime, moral justice and brotherhood are central themes, Thief channels early 1980s Chicago with the requisite grime and its grim dog-eat-dog worldview, but Mann’s deliberate use of cinematography and music is what makes it a standout if unconventional work (at least at that point in time). In Thief, he introduces to us his remarkable talent for telling stories about organised crime-the precise inner workings of syndicates, the explosive dynamics between professional criminals and the cops who chase them, as well as the atmosphere of locales. Michael Mann’s feature debut was a terrific one, and much like the Coens’ Blood Simple(1984), Thief announced the arrival of one of the finest filmmakers to emerge from the US in the last 30 years.īetter still, it revealed a filmmaker whose artistic sensibilities seemed fully shaped from the get go, yet he would go on to make such critical hits as Manhunter (1986), Heat(1995) and The Insider (1999).
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