"Thief" is a pretty interesting project. The Chicago locale is smoky and covered in blue hues; the characters all seem lonely or isolated from one another, and a sense of betrayal lies around every corner and plot twist. Michael Mann gives a preview of what would come in his later directed works, "Miami Vice" and "Heat", and sets the stage for later stylized, crime-romance flicks.
Basically the plot has been done to death by now, but back in the early '80s it wasn't so cliché. Frank (Caan) is a successful professional thief who makes his living with a small, loyal crew and operates under the front of a used car dealership. When a client is killed and some of his money is stolen, Frank goes out to find the perpetrators and finds himself involved in a deep underworld ring connecting mobsters and the police. As per usual, Frank is willing to do one last job in order to make enough money to retire with his sweetheart, but there's always a catch when making deals with serious high-level criminal organizations. Still it's pulled off pretty well. There are not specific twists, so much as well-placed acts and interesting thematic choices (for instance, the "big score" or "hit" or what-have-you, is given pretty minimal coverage when it happens).
The cast is effective. James Caan is as angry as he ever gets, Tuesday Weld is down-key and melancholy, Robert Prosky plays an unusually vulgar crime boss, Willie Nelson looks like he's about to cry every time you see him, and Jim Belushi comes across as a dopey, likable man-child. Of course, plot-wise, James Caan's character, Frank, functions as the hub around which all of their fates revolve.
There are a few weird moments. The conversation between Frank and Jessie (Caan and Tuesday Weld) at the coffee shop at night goes on for much longer than it needs to. Frank's scrapbook picture is a little bit... hokey or overly sentimental (but who knows, maybe badass thieves and killers have cheesy, soft, artistic expressions?) and the soundtrack at times seems out of place. Don't get me wrong -- the soundtrack is fantastic. It's by the German electronica group, Tangerine Dream. I generally love Tangerine Dream, but there are moments here when the music doesn't quite fit thematically (i.e. during the big safe job). It does not bother me, but folks who don't dig the extreme '80s synth-techno aesthetic might be irritated. As a stand-alone, the soundtrack rules, but with the film it can get a little over-the-top. (But the appearance of the "Beach Theme" is truly awesome, haha)
This movie is interesting for doing a number of things that seemed ahead of its time. At moments I was reminded of a darker version of the Peckinpah film, "The Killer Elite" (also with James Caan) and obviously some of the sad, desperate themes from Mann's big '90s achievement, "Heat". Also in line with "Heat" are the blue hues, the electronic music, the heart-broken romance (which here has equal elements of DePalma's "Carlito's Way" and the Tarantino-penned "True Romance"), and a good look at the criminal underworld.
Another DePalma movie, "Scarface", also explores themes initially found here. Like Tony Montana after him, Caan's Frank is a lone wolf in the underworld. He has equally violent and kind-hearted streaks, yet his destructive emotions tend to betray his best interests. Thus Frank (like Montana) is complex because he is both unlikable and angry and yet a far better person than his criminal counterparts in the underworld.
"Thief" is certainly recommended for any fans of James Caan, Michael Mann, underworld crime-thrillers, or any of the films mentioned above.
Basically the plot has been done to death by now, but back in the early '80s it wasn't so cliché. Frank (Caan) is a successful professional thief who makes his living with a small, loyal crew and operates under the front of a used car dealership. When a client is killed and some of his money is stolen, Frank goes out to find the perpetrators and finds himself involved in a deep underworld ring connecting mobsters and the police. As per usual, Frank is willing to do one last job in order to make enough money to retire with his sweetheart, but there's always a catch when making deals with serious high-level criminal organizations. Still it's pulled off pretty well. There are not specific twists, so much as well-placed acts and interesting thematic choices (for instance, the "big score" or "hit" or what-have-you, is given pretty minimal coverage when it happens).
The cast is effective. James Caan is as angry as he ever gets, Tuesday Weld is down-key and melancholy, Robert Prosky plays an unusually vulgar crime boss, Willie Nelson looks like he's about to cry every time you see him, and Jim Belushi comes across as a dopey, likable man-child. Of course, plot-wise, James Caan's character, Frank, functions as the hub around which all of their fates revolve.
There are a few weird moments. The conversation between Frank and Jessie (Caan and Tuesday Weld) at the coffee shop at night goes on for much longer than it needs to. Frank's scrapbook picture is a little bit... hokey or overly sentimental (but who knows, maybe badass thieves and killers have cheesy, soft, artistic expressions?) and the soundtrack at times seems out of place. Don't get me wrong -- the soundtrack is fantastic. It's by the German electronica group, Tangerine Dream. I generally love Tangerine Dream, but there are moments here when the music doesn't quite fit thematically (i.e. during the big safe job). It does not bother me, but folks who don't dig the extreme '80s synth-techno aesthetic might be irritated. As a stand-alone, the soundtrack rules, but with the film it can get a little over-the-top. (But the appearance of the "Beach Theme" is truly awesome, haha)
This movie is interesting for doing a number of things that seemed ahead of its time. At moments I was reminded of a darker version of the Peckinpah film, "The Killer Elite" (also with James Caan) and obviously some of the sad, desperate themes from Mann's big '90s achievement, "Heat". Also in line with "Heat" are the blue hues, the electronic music, the heart-broken romance (which here has equal elements of DePalma's "Carlito's Way" and the Tarantino-penned "True Romance"), and a good look at the criminal underworld.
Another DePalma movie, "Scarface", also explores themes initially found here. Like Tony Montana after him, Caan's Frank is a lone wolf in the underworld. He has equally violent and kind-hearted streaks, yet his destructive emotions tend to betray his best interests. Thus Frank (like Montana) is complex because he is both unlikable and angry and yet a far better person than his criminal counterparts in the underworld.
"Thief" is certainly recommended for any fans of James Caan, Michael Mann, underworld crime-thrillers, or any of the films mentioned above.