In a new, recurring feature called Partisan Cinema, A. J. Black looks at movies from a political slant, gleaning insight from them about how they relate to society then, and indeed now…
One senses the frustrations of writer Upton Sinclair, erstwhile Democratic nominee for the Governorship of California in 1934 and open socialist, might not have featured so prominently had Mank been made, as planned, in the late 1990s.
The story of legendary screenwriter Herman J. Mankiewicz (portrayed here in wonderfully shambolic form by Gary Oldman) as he furiously raced to complete the screenplay of Orson Welles’ future masterpiece Citizen Kane, was penned originally in the ‘90s by the late Jack Fincher, who passed away in 2003. His son, renowned auteur David Fincher, planned to make the film after 1997’s The Game with Kevin Spacey (remember him?) in the titular role, before Fincher’s own seminal masterpiece Fight Club beckoned, but the stars refused to align. Fincher, after a cinematic break of six years following his adaptation of Gillian Flynn’s Gone Girl, has finally—thanks to Netflix—provided viewers with his father’s legacy at the tail end of a year where audiences have been starved of prominent cinema.
Yet Mank, arriving at the end of 2020, has not just fallen in what we might dare to hope are the impending final months of the Covid-19 pandemic, but also twelve months of sweeping social and cultural unrest.
This might well be the biopic of a long-dead man in a now near-mythic cinematic age, revolving around the creation of what many have considered for decades to be the greatest film ever made, but Mank’s politics feel heightened for modern audiences. Fincher, borrowing Citizen Kane’s then-revolutionary non-linear structure, flashes back in episodic fashion from 1940 to deeper back into the 1930s and sees his lead character unconsciously crafting the elements of his Oscar-winning script from powerful, influential figures, and political movements, of the previous decade.
Mank positions the brilliance of its protagonist, and the work of genius he creates, within the tussle of polarised political ideologies in a manner that, intentionally or not, reflects the America of 2020.
Continue reading “Partisan Cinema: MANK (2020) – Citizens of Ideology”