By Jack Giroux
Having established himself as a master of the seedy crime underworld, director Michael Mann has once again delivered an other prime example of the genre. In a summer that has been filled with an overwhelming amount of lackluster films, Public Enemies actually delivers.
The film revolves around bank robber John Dillinger (Johnny Depp) and the golden age of crime (the Depressed 1930s), which the man helped define. Dillinger and his crew are looked upon graciously by some while despised by others, most notably the FBI. While living the high life of bank robbing, Dillinger becomes infatuated by Billie Frechette (Marion Cotilliard). Soon Dillinger is putting his life on the line for Frechette as the FBI gain on him and his crew, claiming him “public enemy number one.” Leading the investigation is Agent Melvin Purvis (Christian Bale), the FBI’s best man.
This is not the standard biopic, but rather a deeply focused examination of Dillinger’s life during the golden era of crime and the events and people who defined him. It is a fascinating excerpt from Dillinger’s infamous life, allowing the story to play out with all the romantic grandeur that runs smoothly throughout without a single dull moment. All three acts seem to convey a different side of Dillinger, moving from dangerous to smooth to vulnerable. It throws you right into this period of his life, no unexceptional exposition on Dillinger’s or anyone else’s past. One misleading aspect proposed by the advertising is the heavy cat-and-mouse game between Dillinger and Purvis; this suggests something similar to Heat. That is not the case. Depp is the lead and Bale is supporting. In fact, much of the film focuses on Dillinger’s relationship with Frechette, the character who mostly drives his actions during the film. Their relationship is set up just right, meanders in the second act, and feels just right in the final act.
One of the few problems in the film is that a few of minor story aspects are never capitalized on. For example, there never is a genuine sense of the public’s perception of Dillinger. He is portrayed as a celebrity of sorts, but that idea is never fully realized or backed up. While his fame is apparent, the public’s perception of Dillinger is never fully embraced. Isn’t he suppose to be a celebrity? One never feels that sense. Another side story regarding J. Edgar Hoover (Billy Crudup) is completely underdeveloped. Hoover’s problems of being doubted by his superiors is left without resolution. He is set up as a prominent character, but later becomes a foot note and non-apparent.
Depp delivers a very sly and calculated performance as Dillinger. He plays him confident, sly, likable and intimidating, making the case to the audience to root for the bad guy. Depp is very theatrical in the way he delivers some old school dialog and even his swagger breaths coolness. The third act is where Depp truly shines showing the desperation Dillinger is lowered to. Cotillard, unsurprisingly, delivers a fantastic performance as Billie. She obviously makes for an understandable love interested for Dillinger and she plays it perfectly. But it’s a little baffling, from how it’s portrayed, why Billie would stay with Dillinger. He’s controlling, seems to be often absent from her life, and hangs out plenty with other beautiful woman. It’s a leap of logic. Playing the main protagonist to Dillinger is Bale, who delivers a commanding performance as Purvis. Bale makes Purvis come off as someone who’s always, or believes, he’s in control.
Mann brings realism and intensity to the screen with his incredible HD cameras. Some will surely complain about the camera work – as they did with Miami Vice – but Mann shows ambition, shooting a period piece with new, clarifying techonology. The depth of field Mann masters is beyond impressive. Night scenes look clearer than ever, providing a greater sense of geography during many of the masterful shoot-out scenes. The veteran director has always been an expert when it comes to shooting action and that trait is fully present here. Each action scene is more intense and admirable than all other action spectacles so far seen this summer, most notably a suspenseful shoot-out by Dillinger’s hide out. This is a classic scene.
With dynamic performances, strong visual storytelling and perfect pacing, Public Enemies is an across-the-board excellent film.