Review: Thief

James Caan plays a car salesman and ex-con whose real trade is as a thief and safe-cracker. His only real associate is right-hand man James Belushi, but eventually Caan strikes up a romance with waitress Tuesday Weld and they dream of a ‘normal’ life and family together. But before Caan can ‘go straight’, he needs significant cash. That’s where avuncular but ruthless Robert Prosky (in his film debut) comes in to commandeer the loot from Caan’s latest job. Sure, Prosky then turns around and gives Caan his money, but then Caan needs to go on yet another job…now reluctantly working for Prosky.  Willie Nelson plays Caan’s imprisoned mentor, whilst Dennis Farina and William L. Peterson have cameos as one of Prosky’s thugs and a barroom bully-boy, respectively in their feature film debuts.

Writer-director Michael Mann (“Manhunter”, “Last of the Mohicans”, “The Insider”) made his feature directing debut with this very Michael Mann 1981 adaptation of a Frank Hohimer novel. In some ways it plays like a forefather to his later, excellent cops and robbers epic “Heat”, but it’s also an enthralling film on its own terms. Every frame of the film from moment one is the epitome of Michael Mann, and it’s no surprise to hear the sounds of Tangerine Dream (“Near Dark”, “The Keep”) delivering a very fine score that gives the film a mood and energy. It’s 1981 and Michael Mann, so of course it’s either gonna be Jan Hammer or Tangerine Dream doing the score (and indeed the score will remind you a bit of Jan Hammer’s work on “Miami Vice”, despite this being a Tangerine Dream score). You wouldn’t want it any other way, it’s probably their best score. In many ways it’s a remarkable debut from Mann, as it’s perfectly assured, cool filmmaking that doesn’t forget to tell a story with compelling characters.

The cast is mostly excellent, led by James Caan in one of his best turns, even if he’s really just being Jimmy Caan. Ditto Jim Belushi, he’s not stretching himself here he’s just being Jim Belushi in a non-comedic film, but he’s the right guy for the gig. In fact, getting back to Caan, you’d swear the role was written with him specifically in mind. It fits him like a glove. Willie Nelson is not and never will be an actor, but he’s actually rather good in this as Caan’s imprisoned mentor. The real standout here though, is the underrated Robert Prosky who, like Belushi (and in cameos, Dennis Farina and William L. Petersen) makes his film debut here. I’m normally used to seeing the late actor play gruff but genial old men, but here that outwardly somewhat paternal, avuncular veneer barely contains his true nature, a cold-blooded ruthlessness. This is not a man with whom to fuck. Along with Caan, I think Prosky deserved an Oscar nomination for this. He’s that good. The weak link in the cast is quite clearly Tuesday Weld. She’s actually surprisingly amateurish given she’s one of the more experienced members of the cast. She’s also the one element here that seems to belong to an earlier era, whereas everything else here is extremely 1981 in the best way possible.

Like the later “Heat”, there’s a cool professionalism at work here, but it’s not empty of character, either. Caan’s character in particular is fascinating. This is seriously good stuff and very well-made. It’s cool, and typical of Mann, very slick. Look out for the genuinely funny bit where Caan yells his way into romancing Weld. It actually works for the angry sonofabitch, too. It’s just a shame that Weld doesn’t hold up her end against the very fine Caan, performance-wise.

Supremely assured, mostly impeccably acted, quite fascinating crime flick from a debut filmmaker who seems to have arrived fully-formed. Remarkable, really and seriously cool, too. This deserves to be much more well-known.

Rating: B