Public Enemies Review
Public Enemies
Directed by: Michael Mann
Written by: Ronan Bennett, Michael Mann, Ann Biderman (screenplay), Bryan Burrough (book)
Starring: Johnny Depp, Christian Bale, Marion Cotillard, Stephen Dorff, Channing Tatum, Billy Crudup, Leelee Sobieski, Giovanni Ribisi, Stephen Graham
The prospect of Johnny Depp playing a 1930’s gangster is probably all that was required to sell most people on Public Enemies, but with director Michael Mann (Heat, The Insider) at the helm, no one really knew whether to expect a summer action movie or a character-driven art piece. What’s more, with the number of great gangster flicks that have been made over the years, Mann had his work cut out for him if he was hoping to create something that could measure up to some of the classics. His last film, Miami Vice, was a bit of a disappointment both critically and commercially despite having the star power of Colin Farrell and Jamie Foxx. Could Public Enemies help him reconnect with audiences, or — better yet — put him back in the realm of Oscar contention?
When it comes to gangsters, John Dillinger may not be as well-known as Al Capone, and hasn’t been portrayed on the big screen nearly as often, but he is arguably a more compelling figure. Known as a modern-day Robin Hood of sorts, Dillinger and his gang knocked off nearly two dozen banks between 1933 and 1934, while always being careful to take good care of their hostages (if such a thing is possible). Since the general public had a distrust for banks during the Depression, Dillinger came to be seen as a folk hero. Meanwhile, the FBI was growing in size and strength during this time period, and they were ultimately determined to take him down one way or another.
Based on the book Public Enemies: America’s Greatest Crime Wave and the Birth of the FBI, 1933-34 by Bryan Burrough, Public Enemies offers a surprisingly accurate historical account of Dillinger’s crime spree and some of the changes that were happening in America at the time. Although the movie has a deep supporting cast and initially seemed like it was being marketed as an ensemble piece, the truth is, John Dillinger is far and away the focus of the film. Other criminals like Pretty Boy Floyd, Baby Face Nelson and Homer Van Meter are present and accounted for, but rarely given much screen time.
I suppose this is all understandable when you’ve got Johnny Depp in the lead role, who for the most part, does a great job presenting us with an anti-hero who is both cool and charming, but deep down knows that his days are numbered. Admittedly, he is almost a little too charming at points, since he never really feels all that dangerous or ruthless. Michael Mann does a good job of glossing over the fact that he is a cold-blooded killer, allowing us to easily accept his relationship with Billie Frechette (Marion Cotillard). It may be a tad manipulative, although to be fair, it is also Marion Cotillard’s endearing performance that ultimately helps sell their ill-fated romance.
On the flip side, the FBI also plays a prominent role in the film, led by a still somewhat inexperienced J. Edgar Hoover (Billy Crudup). It is Special Agent Melvin Purvis who heads up the manhunt for Dillinger and his associates, played by a grim yet subdued Christian Bale. Thankfully Bale doesn’t give another testosterone-fueled performance along the lines of Batman or John Connor here. Although his character is relatively underdeveloped, he still manages to avoid letting it slip into a cliche and offers enough presence to provide a worthy adversary for Dillinger.
What will ultimately make or break the movie for most viewers is the visual style that Michael Mann brings to the table. If you’ve seen any of his work over the past 15 years, you’ll know that he loves to shoot handheld, and has been doing it since long before the Bourne movies went and made it an action movie requirement. What’s more, Public Enemies is shot entirely on digital video rather than film, and the results are noticeable to even the casual moviegoer.
It is definitely harder to see things in the shadows, with the image being a bit murkier and not as well defined in dark areas. However, it’s a trade off for some of the creative camera work and the added intensity during action scenes. No one does a gunfight quite like Michael Mann, and between the sound, muzzle flash and handheld camera, most of these shootouts and prison breaks are thrilling and unforgettable. I can understand why some people are getting tired of the so-called “shaky cam”, and I know that there are certain expectations for a ’30s gangster flick to look classy and slick. Regardless, I think the visual chaos fits here, and I was quite happy to see Mann give the genre a slightly different aesthetic for once.
Public Enemies is relatively long at 2 hours and 20 minutes, but that’s certainly nothing new for Michael Mann either. The important thing is that it doesn’t ever really lose focus, and Depp and Cotillard keep you invested in their characters throughout the dramatic scenes. It’s certainly not a full-on action movie, but there is more than enough gunplay and suspense interspersed throughout to keep you on your toes.
No, it’s not a perfect film, but I think there are a lot of interesting elements within Public Enemies, from the public fascination with criminals to the development of the FBI to the ethics of various police tactics. Michael Mann injects a modern style into an old-fashioned story, but I think the best reason to see it is probably just the cast and their performances. While Public Enemies will probably not end up being counted among the best gangster films of all time, overall I had a great time with it, and I do think there’s a chance it may be remembered come Oscar season. At any rate, it’s certainly one of your better options for a night’s entertainment this summer. — Sean
SCORE: 
Recommended If You Like: Heat, Road to Perdition, Bonnie and Clyde
