The metallic synth contrasts the humanity Frank is struggling to acquire and acts as an oppressive force weighing down on the him. Their electronic blues-rock gives the film its distinct sonic flavoring, and the rest of the sound was mixed to match its key and pitch. Their work on Thief is matched only by their work on Willaim Friedkin's Sorcerer, and even then it's a close call to say which is better. He's an honorable gangster in a world of dishonorable businessmen.ģ. He is his own man, and he won't take anything from anyone but he's also not just a mindless thug. He never does anything lightly, because if it is not worth doing thoroughly then it is not worth doing at all. Everything he says is clear and distinct and enunciated because he does not want to waste time repeating himself. In order to fully embody the idea of a man out of time, he refrains as much as possible from using contractions. But then, of course, it would be missing one of its key ingredients: Caan's delivery. I could just as easily review this film simply by reprinting his portion of the script. It's easy to forget how a good monologue can make a film, and Caan is absolutely full of them in Thief. They're the heart of the film because of how well Mann puts them together.Ģ. The heists are some of the best in all of cinema, and they're little more than carefully arranged montages because the images and actions speak for themselves. There are no "props" in Thief because all the tools used by Frank are actual tools used by real thieves (credited as "technical advisors").
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But most of all he knows action, and he knows how to choreograph a scene without exposition and give it an incredible sense of immediacy and authenticity. Here he explores the nature of humanity and male identity through the neon-lit night life of Chicago. This is his first feature film, and young Mann was a director full of ideas and images. You're waiting for a bus that you hope never comes because you don't wanna get on it anyway because you don't wanna go anywhere."ġ.
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