Thief The Rewatchables
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Thief

Most Rewatchable Scene

Diner scene

In the discussion (29)
Approx. transcript time · 00:27:11Read transcript
  • First pick: Caan going to the plating company to demand his $185,000 within three hours; it is the first time Farina is seen, and the eight horrified 1981 office workers are a highlight.
  • A joke that Chris used to enter the office the same way, moving the chair to see what was on the desk.
  • Willie Nelson's big prison scene is complicated but fascinating, an intense staring contest with the faces a foot apart; Mann seems to have few friends but insanely intense connections with the ones he has.
  • The Nelson scene is not obviously working at first but pays off with "I don't want to die in here, Frank"; his line readings are sometimes odd, but his open, empathetic face makes it work.
  • Willie Nelson on Frank's postcard collage is briefly puzzling on a rewatch until you remember he is Frank's best friend.
  • Praski's (Prosky's) first scene: his first movie at 51, dressed like a grandfather in a golf shirt tucked into pressed slacks.
  • Mann auditioned dozens of New York actors for Leo; Bruckheimer advised that the right person had not walked in the room yet, and Prosky, a theater actor, was found, leading to a That Guy career.
  • Peak Prosky is this role: an avuncular, warm, familial sensibility with pure evil right under the surface. — Sean Fennessey
  • The Natural is raised as close but too evil; later roles such as Last Action Hero and Mrs. Doubtfire made him the favorite uncle.
  • Prosky originated Shelley Levene in Glengarry Glen Ross.
  • Caan lays out what he won't steal: just diamonds and cash, no coin collections.
  • The diner monologue is the reason for the episode after it was caught while flipping channels and texted to Chris; it is called the best moment of Caan's career, better than any Godfather moment, laying out the character's spine in four minutes.
  • It is called a favorite first date in movie history: Caan is two hours late, they scream at each other on the drive, and he tells a woman he just met about his prison fight with Morphus.
  • Caan called it the scene he was most proud of; it was filmed at a Howard Johnson's in Illinois that Mann had a connection to, and the wide shot is Heat DNA, though Heat never shows the two men together.
  • An amazing piece of filmmaking; the underrated part is the car speech before the diner, two people who have looked at each other for eight months cutting out the games. — Sean Fennessey
  • Caan cracking the love affair like a safe ("cut the mini moves and the bullshit and get on with this big romance") while being impatient with the woman he plans to marry is hilarious.
  • One-last-job movies raise the question of why not ask her out after the job; the woman complicating the last job is a Mann recurring thing.
  • Mann's top restaurants are ranked: diner, Chinese restaurant, Musso and Frank-style steakhouse, a close-booth place like Dan Tana's, and hibachi for the glimmering blades.
  • The Chinese-restaurant waiter gives a borderline Dion Waiters performance and is nicknamed David.
  • The elevator-shaft scene is weirdly harrowing and shows Mann's precision; it is liked more than the safe crack, though the opening keyhole-camera drilling sequence is great.
  • A first-time viewer at home was riveted by the talking but hid behind an iPad during the drilling; Fincher's Panic Room is imagined as a response to Thief.
  • Prosky lays down the law in an incredible monologue ("I run you", whacking out the whole family, wimpy burgers), shot upside down from Frank's POV, ending with Belushi dropped in acid.
  • Belushi's death scene could have used another minute of setup.
  • The ending is fun to watch but has issues: it hinges on Attaglia getting a glass of milk, Mann's written ending reunited Frank with Jessie, and seeing the girlfriend again would have been more satisfying.
  • Burning the postcard reads as Frank giving up the idea that he could be happy or emotionally available.
  • Biggest nit here: he should have gone back in the house and stolen things, though sparing Leo's wife is a purposeful choice by a man with a samurai code.
  • Mann repeatedly sends the wife packing, as in a two-part season-one Miami Vice episode and Heat's walk-away with Amy Brenneman in the car, which is called weird given the question of whether Mann himself hasn't been married to the same woman for about 50 years.
  • Final answer: the diner scene with Tuesday Weld, met with "Me too."
  • One more honorable mention is deferred to What's Aged the Best.