https://www.frontpagemag.com/fpm/2020/12/ravishing-propaganda-bruce-bawer/
Since debuting with Aliens 3 in 1992, the director David Fincher has racked up an impressive list of no-nonsense, fast-moving pictures, mostly thrillers, and mostly terrific: Seven, The Game, Fight Club, Panic Room, Zodiac, Benjamin Button, The Social Network, The Girl with the Dragon Tattoo, Gone Girl. It’s a rare filmmaker today who has such a solid list of credits.
Fincher’s latest film, the much-hyped Netflix offering Mank, is not a thriller but is, rather, the latest contribution to another major genre, the movie about Hollywood movie. Hollywood has always loved making movies about Hollywood, for the same reason that Narcissus loved looking at his reflection. Mank is about Herman Mankiewicz, nicknamed Mank, who, depending on which story you believe, either co-wrote Citizen Kane with Orson Welles or wrote it alone, only to see Welles slap his own name on the script.
When we first meet him, in 1940. Mank (Gary Oldman) is a rumpled, drunken, self-destructive has-been who’s been fired from MGM and planted by Welles in a house in the California desert, where he dries out while fitfully writing Kane. But Mank’s stay at that house turns out to be simply a frame for a story that, like Kane’s, is told mainly in flashbacks. Most of this movie, indeed, takes place in the 1930s, chiefly at MGM, where Mankiewicz wrote or co-wrote dozens of screenplays, and at San Simeon, the seaside estate of newspaper mogul William Randolph Hearst, the model (needless to say) for Charles Foster Kane, who was (who knew?) a chum of Mank’s.
