And not only that: Mank, David Fincher’s eleventh feature film, has all the numbers to succeed in the succession of award ceremonies that will begin in a few weeks and will culminate in the Oscar gala on April 25. Had it been released in any given year, it would be a solid candidate; Doing it in the midst of the pandemic, after titles like West Side Story or Dune have postponed their premiere for several months, makes it the great favorite. Since these days in US cinemas – on December 4 it is incorporated into the Netflix catalog for the whole world -, the film approaches the figure of the screenwriter Herman J. Mankiewicz (Gary Oldman) during the months he spent writing for the director Orson Welles the first draft of Citizen Kane. The authorship of the text has always been involved in controversy, since Welles credited himself as its co-author despite the fact that, some – among them the famous critic Pauline Kael in her essay Raising Kane (1971) – claim, his contributions were null.
The film hits theaters in the US and will be added to the Netflix catalog on December 4
In any case, Mank focuses less on that controversy than on the circumstances that inspired the script: after being part of Hearst’s inner circle and then finding himself outside of it both because of his drinking problems and his own disenchantment with power, Mankiewicz decided to use the typewriter to get revenge. The pools already predict that Mank, the first film that Fincher has released since Perdida (2014) –in the meantime he created the soap operas House of Cards and Mindhunter–, could achieve as many nominations as Citizen Kane achieved in his day, nine, and in the same categories. If that’s the case, the director would have reason to worry: Mankiewicz and Welles’ script was the only statuette that his predecessor ended up taking home. However, there are reasons that predict Mank a more successful harvest.
The navel of Hollywood
The recent history of the Oscars shows that Hollywood members like to reward films that talk about them. In recent times, three fictions more or less focused on the world of cinema –The Artist, Argo and Birdman– took the most precious statuette and a fourth, La La Land, also held it in their hands for a few seconds, and in any case ended up winning six awards; Once upon a time … in Hollywood, meanwhile, he won two this year. But it is that Mank speaks not only of cinema but, we say, of what is perhaps the most revered and studied film of all that exist, and reproduces not only its narrative structure full of time jumps but also his interest in dark alliances between the press, cinema and the American government of the time.
And in the process, finally, he accurately captures the look and feel of Old Hollywood: its glamor and squalor, its ability to inspire dreams and smash them into a thousand pieces, its endless hierarchies, its corruption and its magic. After a few months in which its very survival remains under threat, the industry is likely to be particularly inclined to honor itself … even if that means reconciling with its last great enemy.
Fincher is one of the most respected authors ever to have won the Oscar for best director
THE NEW POWER
Netflix platform time
The platform has been trying for years to be the great winner of the Oscar night, but so far its productions have not had it easy. Yes, Rome won three statuettes in 2019, but lost in the premier category, Best Film; And in 2020, despite accumulating 13 of the 45 nominations in the main categories, Netflix returned home with the word failure around its neck, thus confirming the widespread belief that a certain anti-sentiment prevails within the Academy. streaming. However, it is more than likely that this attitude has its days numbered. In 2021, after all, voters won’t be tempted to ignore Netflix, mostly because they will have little choice to do so. While the big studios delayed until well into next year the release dates of some of what were to be their big bets in the awards season, the big N will participate in it with at least four titles: Da 5 Bloods, by Spike Lee; The Chicago 7 Trial, by Aaron Sorkin; George Clooney’s The Midnight Sky; and of course Mank, without a doubt the one who would make it easier for academics to vote for Netflix without feeling guilty.
Fully relevant topics today
Mank addresses several issues that are relevant today. For starters, it recalls Hollywood’s efforts to lure people into movie theaters during the Great Depression years, many decades before the pandemic emptied them again. It also recreates the electoral campaign for the California government of 1934, which pitted the corrupt Republican Frank Merriam against Upton Sinclair, a socialist writer – something like the Bernie Sanders of his time – who inspired a mixture of terror and hatred among the elites of the country. The film recalls how producers Louis B. Mayer and Irving Thalberg conspired with Hearst to sabotage Sinclair’s campaign by using fake news – ironically, it was Mankiewicz himself who unwittingly gave them the idea; In other words, Fincher portrays a political climate similar to that which has engulfed the US for some time. It remains to be seen when and how Trump will agree to leave the White House, but for liberals in Hollywood, rewarding Mank would be a way to pat himself on the back for his contribution to the downfall of the still president.
The sound of applause
The American critics are roundly praising Mank, and this is understood for several reasons: the precision with which Fincher mixes the intimate and the epic – he already did it in Zodiac – the astonishing meticulousness with which he recreates the Hollywood of the 1930s. and the look of the films that were made then, the sophistication with which it pays tribute to iconic moments of Citizen Kane without falling into mere pastiche … Unlike so many other films about the cinematographic process, Mank also stands at a distance fair, without falling into reverence or explicit satire; portrays the lack of ethics and hypocrisy of the industry but also its capacity to amaze, and wonders if it is legitimate that, to create a great work, the author agrees to betray whoever is necessary and even to the brink of death.
Despite being one of the most respected authors in American cinema, throughout his career Fincher has only obtained two Oscar nominations, both in the category of Best Director; none of them provided the statuette. He is considered one of the directors most mistreated by the Academy, who in 2008 ignored the Zodiac and in 2011 he left the social network without the Oscar for Best Film. It is time to make up for those injustices. And considering that Mank is perhaps his most personal film – the scriptwriter is his own father, journalist Jack Fincher, who died of cancer in 2003 – it would be nice for him if that happened on April 25.