Frank is an expert professional safecracker, specializing in high-profile diamond jobs. After having spent many years in prison, he has a very concrete picture of what he wants out of life--including a nice home, a wife, and kids. As soon as he is able to assemble the pieces of this collage, by means of his chosen profession, he intends to retire and become a model citizen. In an effort to accelerate this process, he signs on to take down a huge score for a big-time gangster. Unfortunately, Frank's obsession for his version of the American Dream allows him to overlook his natural wariness and mistrust, when making the deal for his final job. He is thus ensnared and robbed of his freedom, his independence, and, ultimately, his dream.Written by
Tad Dibbern <DIBBERN_D@a1.mscf.upenn.edu>
Late in the film, when Frank gets out of his car to plant the bomb at his bar, the Green Mill, the lights used to illuminate the scene are clearly visible in the car door as the door's angle changes. When he opens the car door to get back in, the lights are visible again. See more »
What are you doing in your life that is so terrific?
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In 1995, Thief was released in a new LaserDisc set billed as the 'Special Director's Edition', which was carried over to the film's 1998 DVD release. For 16 years, this was the only home video release of the film in the US until Criterion's 2014 edition. Differences between this version and the theatrical version are as follows: 1. There is a new scene with Wille Dixon on the bank on the Chicago river. Scene takes place directly after Caan's car drives away from the opening heist. A slow dissolve has been added that transitions to this new scene (normally the film cuts directly to Frank at the car lot) 2. Beach Scene - Mann removed a slow-motion shot of Tuesday Weld walking with the baby. First she is smiling, then looks over at Frank with a sort of melancholy expression. The whole shot is only about 7 seconds long -- but it is nowhere to be found in the "Special Director's Edition". In order to make up for the lost seconds, Mann make two editorial choices that end up hurting the original music/visual flow of the film. a) In the theatrical cut, we clearly see Caan light up the cigarette, then he nods his head a few times -- then on the music beat change -- cut to the Beach Scene. Perfect match of Tangerine Dream's music and visual cut. b) In the Special Director's Edition -- Mann cuts a few seconds from Caan's victory nod -- then cuts to the Beach Scene *before* the music cue change. Then Mann just slows down the images of the waves (to make up for the time lost) before the camera pans up to Frank. No music-visual cut transition. 3. House Exploding - when comparing the Theatrical and Director's Edition, there seems to be better clarity in the explosion. Screen appears to blow-out to white in the Director's Edition that looks different. This is only very slight and probably only noticeable if you watch both side by side. 4. Confrontation Shootout - Mann used a video post-production technique to speed up several shots/frames during the final shootout. a) When Frank shoots Attaglia, the body appears to hit the ground faster. b) When Frank is shot by Carl (Dennis Farina), and you can see the window break on the car and Frank falls to the ground -- all this has been sped up. c) When Frank shoots Carl, he falls back (in three cuts) into the bushes. See more »
I've always been impressed by Micheal Mann's films. Starting with The Insider, I was intrigued by his camera-work and the use of music to compliment a scene.
With Thief, his directorial debut, he shows what movie fans will be in store for over the 30 years. Of course some of the techniques to steal are dated, but I loved the glossy, yet gritty atmosphere of the film. Tuesday Weld, was also quite good as Caan's love interest. It has an amazing ending as well.
The film is Waaaaaaay ahead of its time. And I was genuinely impressed with James Caans performance. This film is an underrated gem and should be viewed by Mann fans who liked Heat and Collateral.
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