40 years of Michael Mann. 11 Best Movie Moments.

Forty years ago this weekend, Michael Mann released His first feature, “Thieves,” Which included several signatures of the director’s work in Retrospect, such as stories that revolve mostly around lone wolves, told with intricate cuttings, artful scenes, and unexpected musical choices. We asked 11 writers to look at careers filled with memorable films and choose scenes that still clung to them.

In most Michael Mann films, a lot of action is talked about: talking to men in particular, sometimes to women but mostly to other men, about their jobs. The frequency of such interactions is what makes “heat” (1995) Quintessential Michael Mann film. In this context there is simply the famous dinner scene, Michael Mann-Est six minutes in all cinema.

In a busy, epic game of cat and mouse, Vincent Hanna, a tired and frenzied Los Angeles cop, sits for coffee with criminal mastermind Neil McCauley, whose plan he is trying to thwart. They are mortal rivals, but also just two people struggling with the current demands for professionalism. They talk about marriage, about work, and when they do not become friends at all, there is no real enmity between them. Each recognizes that what the other does is good, perhaps even the best. Of course they are: they are Al Pacino and Robert De Niro, sharing the screen for the first time. AO SCOTT

Mann has always been adept at enduring the familiar bustle of public spaces and danger from the opening shot of this Classy style thriller (2004) is a good example. As Tom Cruise’s character, a hit man, slowly escapes the crowd at Los Angeles airport and makes contact with the camera, his purposeful stride is deliberately out of step with the sea of ​​passengers around him. Silver-haired and expressionless behind jet-black shades, he glides through the terminal, his pale gray, sharply tailored suit and shiny white shirt giving off a faint glow. The shark metaphor is wacky, yet perfect: in barely 30 seconds of screen time, and before he says a word to us, we know that this man is a hunter. Zeenat Cataloos

Mann is such a distinguished stylist, with such a recognizable visual and aural beauty, that it is easy to overlook how he directs his actors. For proof, look no further Pacino big scene “Insider” By the late 1990s, after winning the Oscar for its roaring victory in “A Woman’s Fragrance”, audiences expected Pacino to work at peak volume and high intensity. Instead, Mann puts the actor on a low boil – until this scene, when Pacino’s “60 Minutes” producers were working on an investigation into Big Tobacco, has finally become enough. Mann and Pacino create the explosion we’ve been waiting for beautifully, the director modifying the escalation like a symphony conductor, as the actor slowly but surely unloads on his bosses, only his own. To take a close aide from his sail. Jason bailey

in “Chor” (1981), Is James Kahn Frank, an artisan saferack in Chicago. He knows that staying out of the law means living on borrowed time. After showing up late for a date with Jessie (Tuesday Weld), he gets annoyed with her and himself, and takes them to a dinner. The shouting subsides, but the emotional register becomes more shocking. Selects value Simple shots of two people in a booth, All but stranger to each other, suddenly concerned with total candor and vulnerability. “My life is very normal,” Jessie protests. Then Frank gives his past, present, and what he hopes for, his ideal, and of course, normal – future – with him. Just like that. Glenn Kenny

A master class in visual storytelling, 10 minute opening scene Of 2001 biopic “Ali,” Starring Will Smith, the boxer stars as Louisville Lip, ironically he trains for his 1964 heavyweight bout with Sonian Liston. For this Kinetic Salvo Mann cuts between a husky Sam Cook Club performance, a Malcolm X speech and a boxer meeting with his rival and an instructor (Jamie Foxx). All this is filled with Ali’s intense training and his memories of his childhood in Jim Crow South: the colorful section of a bus and the face of Emmett Till on the front page of a newspaper. Mann’s candid study of Ali’s interiority introduces a completely influential figure rather than that invincible pop-culture icon. Robert daniels

Mann’s illustrious romance with cinema began when he saw “The Last of the Mohicans” in 1936 at the age of 4 in the basement of a church. To value, Story of james fenimore cooper Daniel Day-Lewis Hawke had “a love story in a war zone”, who fights with Madeleine Stowe’s British rmigré Cora to protect both her adopted native family and their future. Cerebral stuff, yet the value communicates 1992 film Powerful thoughts through eye contact. The first acknowledgment of the characters’ charms is a fascinating contest that spreads for 40 seconds in the form of tippoes of music in the shadows. While “I’ll find you!” has been made Mam, This moment taps into Mann for the child, who once knew that admirable boy, who simply knew what he liked. Amy Nicholson

Mann’s 2009 gangster film, “public Enemies,” Ford is with a new 1930s engine. When John Dillinger (Johnny Depp) and Billy Frechet (Marion Cotillard) get to know each other over dinner, their passion for mixing classic melodramatic impulses with new video technology comes to the fore. Looking out of place at Swanny’s restaurant in her “three-dollar dress”, she asks what he does for a living, and she tells him, in fact, “I rob the banks.” Depp and Cotillard play the scene with Old Hollywood glamor, but Mann’s digital eye (with cinematographer Dante Spinotti) gives a modern lightning. Reflecting the precise detail in his expressions, the director noted the clarity of Dillinger’s admission and Frechett’s dominance. Here, Mann shakes a style like a good cocktail. Cuele turner

Cursed by a chaotic production history, “to keep” (1983) has emerged as an attractive, attractive curio. My favorite in that film is not a set of hers but a quiet, almost silent segment, with my most liked contemplation scenes. In it, madness prevailed over a Romanian village after Nazi soldiers inadvertently freed the masculine institution contained in the centuries-old fort. A priest drinks the blood of his dog, a white horse wanders the deserted streets, flapping sheets over a cloth. It is very quiet. It is Mann in the Werner Herzog region, under a Tangerine Dream soundtrack that responds to Popol Vuh’s music for “Aguirre, Wrath of God” and “Nosferatu the Vampire”. Elisabeth Vincentelli

There is a lot of love about “The Last of the Mohicans” (at least the way Daniel Day-Lewis pronounces “Kentucky”), but I definitely did take the full form several times to get to the end. Have seen from The final seven or minute minutes of the film, almost entirely dialogue-free, should be one of Mann’s great scenes. Serve it as a music video that you love, but as a tempo, but a combination of speed and emotion, human grief and natural grandeur, one of the best film scores of the 1990s. Makes unquestionable. Gilbert CRUZ

A reliable trendsetter, Mann often has cutting-edge technology and “Collateral“A nocturl then-novel high-definition video was used to capture the cascading qualities of light in Los Angeles. At the finale, the hit man visiting Cruise, a prosecutor (Jada Pinkett Smith) in a skyscraper Trying to kill, cutting into power and chasing him through a law library that is nothing beyond the sparkling, nostalgic cityscape. Suspense becomes the subject of pure light and shadow, Because the silhouette of a wandering killer is difficult to distinguish from the architectural reflection dancing in the glass. Mirroring may be the most inspired use since the scene. “The lady from shanghai“Ben Kenigbar

Fuzzy white dots on blackness. Probably stars in outer space. By a golf ball picker, his lamp rotates casting an exotic glow. It’s nighttime at the driving range, where a secluded Jeffrey Wiegand (Russell Crowe) isn’t ready with a bucket of balls. But a slow pan reveals another golfer in the distance. His club’s metal clug attracts Wiegand to panic. A close-up in the form of a golf ball swoops into the net. The floodlight went off. Long shadow, aquamarine hues and an operative score. Is our insider followed, or is there irrefutable visual evidence of his paranoia? Natalia Winkelmann

Where to see: “who steals” Available on HBO Max. “Ali,” “Collateral,” “to keep,” “heat,” “Scourer,” “the last of the Mohicans” And “public Enemies” Available for rent or own on major platforms.

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