David Fincher’s MANK (2020, streaming on Netflix) tells the story of the how the script for the classic film CITIZEN KANE came to be, revealing a corrupt Hollywood and something of the inspiration of the film himself, media baron William Randolph Hearst, through the lens of the scriptwriter. I found it a bit pompous and a little tedious until the story took hold, where it becomes quite beautiful, and in the end, while I didn’t quite love it, I found much to admire.

Set in the 1930s and early 1940s, our hero is screenwriter Herman J. Mankiewicz (brilliantly played by the great Gary Oldman), an alcoholic wit working for MGM, headed by Louis Mayer and funded by William Randolph Hearst. In the past, we see Mank befriend Hearst, who keeps him around as a sharp if amusing and harmless court jester. In the present, Mank is writing CITIZEN KANE for Hollywood outsider Orson Welles (Tom Burke, who eerily gets the iconic voice right), despite all the pressure and warnings about the consequences of messing with the rich and powerful. Almost all the major characters are based on real people, and many of the major events are at least roughly based on what really happened.

The film is a loving homage to 1940s films and CITIZEN KANE itself, mirroring it from its structure to its examination of a life to its use of black and white film, hefty score, and pointed transitions. As for Hollywood, there is little romanticizing, presenting it as a dirty business where workers received big pay cuts during the Depression while Louis Mayer lived like a king, and where actors were used in political smear campaigns.

As I said, at first I found the film to be somewhat pompous, from its heavy handed music and effects to its stilted, witty dialogue to its delivery of the overwrought trope that is the alcoholic but rascally writer. Despite its light heartedness, it’s heavy lifting. The more I watched, however, the more the story revealed itself like a puzzle (much like CITIZEN KANE itself) and the more interested I became until by the end if I wasn’t in love with it I was certainly liking it a lot and admiring its subtle complexity.

Overall it’s an enjoyable and very interesting film, and I would recommend it for its unique flavor alone.

Based on the novel by Walter Tevis, THE QUEEN’S GAMBIT (Netflix) is a series about a young woman who becomes a chess champion during the Cold War era. I found it a surprisingly delightful watch, particularly the way the game of chess is portrayed.

The story begins with a very young Elizabeth Harmon orphaned in an auto accident and sent to an orphanage, where she is fed Jesus and tranquilizers in a home that is caring but unloving. After discovering the surly janitor playing chess by himself in his basement office, she decides she wants to try it, and she’s a prodigy. Finally adopted as a teenager, she ends up in an unhappy home that is breaking up, though she bonds with her new mom as she enters and begins winning chess tournaments.

This takes her on a path to the top, where she must confront her demons–her mother’s death and mental illness, her difficulty forming relationships, and her addictions that she believes are the source of her talent–before confronting the Soviet master Borgov in a game that will decide who can call themselves the world champion of chess.

This is feel-good stuff that goes at its own pace, punctuated by thrilling wins that arrive in cathartic fashion after numerous setbacks. With her exotic beauty, Anya Taylor-Joy is riveting as the adult Beth Harmon. The depiction of the 60s is stylish and engaging. The chess games are tense and accurate, and I loved the numerous debates over strategy and approach. One might think sexism would be an overriding part of the show, but it isn’t, and it was great to see the great men who played chess applaud Beth because they recognized and respected her talent. Beth’s biggest obstacle is instead her past, which makes her an interesting and insular personality, admirable for the way she doesn’t give a crap what anybody thinks, though somewhat aloof and at times hard to root for. To win, she’ll have to confront that past to win without chemical help and truly connect with people.

I had a few complaints, though they’re somewhat minor. The resolution and addiction stuff took a bit long near the end, though it was necessary. My biggest complaint is I wish the chess games were shown a little more clearly so we could “play along,” but there’s enough to respect the game in what is a straight-up drama, not a sports drama. Apparently, the chess master Kasparov played a role in the show as a consultant, and it showed.

Overall, I loved it and I’m happy to recommend this one.