Public Enemies

"Public Enemies" proves that Michael Mann is right up there with Martin Scorsese at directing compelling crime dramas. This film, based on a book detailing the nexus of John Dillinger, J. Edgar Hoover, and Melvin Purvis, covers the last year and a half in the life of the famed bank robber, who was branded "Public Enemy Number 1" by Hoover, who was building what would become the FBI. Chasing Dillinger for Hoover was Purvis, who relentlessly pursued Dillinger until the fateful night outside the Biography Theater in Chicago.

Johnny Depp plays Dillinger as a fun-loving but dangerous criminal whose only plan seems to be to live life on the edge until he falls off. As usual, his performance is engaging and utterly believable. Billy Crudup wonderfully plays Hoover as a man obsessed with growing the Bureau, obsessed with public relations, and obsessed with capturing John Dilliger, and Christian Bale plays Purvis as an intelligent, capable, and caught in the difficult position of trying to catch Dillinger while at the same time pleasing a demanding, overbearing publicity seeker.

The film features great supporting performances from Marion Cotillard as Dillinger's girlfriend, Billie Frechette, and Stephen Lang as a veteran Bureau agent assigned to hunt Dillinger.

This is film has plenty of action and thrills, but also possesses great acting, intelligent writing, and masterful directing by Mann. Public Enemies is one the best films to come out in the summer of '09.

"Public Enemies", helmed by famed director Michael Mann, is a thriller of the most testosterone fueled variety. It's a fast paced actioner brimming at the seams with intense shootouts and a well-stocked cast of steely-eyed, square-jawed men harboring classic narcissistic complexes. Johnny Depp makes a suave, calculating Dillinger. It's more of a manufactured character than an interpretation of the real life Dillinger, but this is of little consequence because Depp achieves grand theatrics with his sullen glare and devil-may-care attitude. He plays it much as I imagine Steve McQueen would've in his heyday, plowing through his world with a sort of darkly cool, apathetic demeanor that suggests he doesn't care one way or the other about anything.

The supporting characters are superlative as well, particularly Stephen Dorff as Homer Van Meter. There's an intensity to his character that Dorff really brings out. In fact, I didn't even recognize him at first (interestingly, he looked very similar to actor Tim DeKay). Jason Clarke, who portrays John "Red" Hamilton, is an actor primarily known for his television work. I surmise he was chosen for his striking resemblance to the real life criminal; just compare his photograph to the infamous mug of Hamilton. He's probably the most featured gangster, other than Dillinger, being that Hamilton is portrayed as his right hand man. Of course, Christian Bale turns in an able performance as respected G-Man Melvin Purvis - donning yet another one of his famed accents for the role.

The film begins in medias res with an exciting jailbreak, something which I greatly enjoyed. I was happy the film didn't waste time trying to explain Dillinger's childhood and upbringing. There is no hollow attempt to apply reason to his actions or place blame for his anti-social behavior. In the end it doesn't matter what led him to a life of crime, particularly since over the years the man has transformed from a folk hero into a veritable legend. With that in mind, it's obvious Mann's vision was ambitious. He attempted to pack all the nuances and complexities of Dillinger's world into only two hours and, because of this, the end product is a bit too busy. I get the feeling that a bit of streamlining the script might not have been an awful idea. That aside, it's clear that Mann knew what audiences wanted to see is a rip-roarin' take on the robberies, shootouts, and defiance of the law that filled the bulk of Dillinger's life right on up until the bitter end. This film performs those functions in spades!

The major lacking feature of the film is that characterization takes a backseat to the action. This is, perhaps, inevitable considering the large ensemble cast and the fact that nearly every character is based on a very real, very famous person. Often many seemingly interesting characters never quite gel with the audience because their screentime is so brief. One such character is Gilbert Catena, portrayed by Domenick Lombardozzi (probably best known for his role on HBO's The Wire). Still, those aspects aside, every performance here is stellar. Just glance at the supporting cast which includes: David Wenham, Marion Cotillard, Giovanni Ribisi, and Billy Crudup, among others. It's my fervent hope that upon its release to home video there's an extended cut of the film because I would love to see more of these characters (especially Pretty Boy Floyd, since he is only in the film for a scant couple of minutes).

I've noticed many critics mention that the film unnecessarily milks the climax of the film, which is obviously Dillinger's execution outside of the Biograph Theatre. I didn't mind this so much because it's such an iconic event of the Public Enemy era, and more than that, the film portrays Dillinger's death with precise detail and follows what we know of the actual event to the letter. The scene features numerous clips of the film Dillinger watched: Manhattan Melodrama, the gangster vehicle starring Clark Gable.

The film surmises, with good reason, that Dillinger probably identified with Gable's character. It illustrates this by showing one of the haunting final scenes, when William Powell offers to have his death sentence commuted, Gable replies with "You think you're doing me a favor by keeping me locked up in this joint for the rest of my life? I don't want it. If I can't live the way I want, then at least let me die the way I want." Dillinger's face expressed great understanding, perhaps even compassion, with this statement. It's a great cinematic moment, especially since the audience is very well aware of what is about to transpire in his own life.

I give bonus points to the production crew for so aptly depicting mid-west America during the Depression. Many real-life buildings were redressed to look as they did during the time and their efforts greatly enhance the atmosphere. Then there are the detailed setpieces (one of my favorites, though it's a blink-and-you'll-miss-it one, is Gilbert's shop), the hairstyles and slick suits, the classic cars - they hit all the notes correctly. There's even some archaic slang film fans will remember from gangster films made in the thirties, such the calling of prison guards "screws".

The robbery scenes, being the lynchpin of any Dillinger yarn, are somewhat brief but accurately portray Dillinger's tactics and methods. Also, concerning actual history, this film does take liberties with what really occurred (like any film does). Perhaps the most egregious liberties are taken concerning the demises of the various gangsters. For instance, Pretty Boy Floyd is depicted as being killed months prior to Dillinger's death (Dillinger even references his demise to Pervis), when in fact he died months afterward. Also, Homer Van Meter survived Dillinger, only to be killed a month later. These aspects are often a necessary evil, because a filmmaker must strike a balance between reality and entertainment - and the two do not always intersect seamlessly. If you want a version that follows the facts exclusively - buy the book.

In summation, "Public Enemies" may not be remembered as a classic action film, but it will be remembered as a classic gangster film. The most gratifying aspect is that, unusual for most action films, all the actors turn in very memorable performances. Some critics and the press have commented on how Bale is absent from nearly all the trailers and promotional materials for this film, but when you watch it, the reason is quite understandable. This is unquestionably Depp's film, and though I concede to not having a particular predilection for him, his role here is not to be missed. This is well worth the price of admission!

I am an avid supporter of Mann's work so I had no expectations with PE of there being a crystal clear Blu (the cameras he uses) or articulate/perfect sound mixes that allow you to crank it up and still hear dialogue during action scenes. So in fairly rating the BD that detraction list all comes true here, but I still enjoyed the incredible attention to prop detail and filming locations - both of which get covered adequately in the special features.

The picture quality is standard to good as those cameras create the night blur/drag (similar to Miami Vice) but some of the outdoor scenes are clear enough to even see the lens/shutter change (reference the outdoor shot of the jail as Dillinger is driving/escaping - you can actually watch the camera operator change the filter from dull to sharp). The sound is mixed differently throughout depending on the location so some scenes are clear if the camera is pointing right at the speaker, but most do not allow you to have the volume set higher as the gun play is over-amped and/or loud scenes drown the dialogue (airplane, cars, guns, etc.). I still loved watching the performances and I already had read how historically inaccurate the story was but the other details made it a good film to watch - especially since they filmed in so many of the actual locations that the events occurred. Supplements are enjoyable and include:

* 20:32 minute making-of. Mann centers the interviews and flow of the documentary and includes some thorough depictions of how some scenes were made and character preparation.
* 8:44 minute Last Outlaw. Gives a brief history of how these guys were considered to be the last outlaws and covers the actual last moments of Dillinger's life.
* 9:48 minute Locations. Shows all of the work put into filming at the three main historical locations of the story (Bohemian Lodge, the theater and the prison). Shows what can be done if you have enough money to do it right.
* 9:39 minute Criminal Technology. Describes how/why Dillinger had the cars and guns that outperformed the police. Also shows how the FBI started to use more technology to fight these criminals. Some history about Winstead and his role in the shooting (references using outside law help to end Dillinger).
* Commentary with Mann. I always enjoy listening to his theory on attention to detail and what it takes for him to make a film - granted not for everyone.
* DBox - did not use it.
* U-Control. Allows for using the PiP function and incorporating time lines while you watch.
* BD Live. Did the Gangster Movie Challenge, it scrolls through multiple choice options of different movie trivia; had not watched American Gangster recently so I sucked and gave up but you should be able to get all of the PE questions. It does keep track and your score can be compared against other users.

The menu is the standard Universal left-feeding live background action menu (good scenes, good music) but there are more options this time around to help facilitate BD Live stuff (two different icons for that) and learning about how to use everything on the BD (another icon for that). Plus a live feed (similar to a news feed) stays on the upper right quadrant of the menu screen that gives updates on BD live events and other movie stuff.

Overall, a good product for fans of the film and those with a network connection.

That line from "Public Enemies," delivered by Christian Bale, made me laugh like crazy for several minutes straight. Fortunately, though, that was the only ridiculous moment of the film.

"Public Enemies" is a dramatic and enthralling tale of the story of John Dillinger, a notorious bank robber from the 1930's who was also known as "Public Enemy #1." Johnny Depp delivers a riveting performance of this infamous crook's violent crimes and constant run-ins with the law. The movie has a strong supporting cast, including Marion Cotillard as John's lover. Billie Frenchette, and Billy Crudup as the bizarre FBI director J. Edgar Hoover. As previously mentioned, Christian Bale, who in my opinion is one of the lousiest working actors in Hollywood right now, plays the role of the lead FBI agent on the Dillinger case. However, he amazingly didn't annoy me all that much, because his character is supposed to be kind of a putz (along with the rest of the law enforcement officers depicted in the film).

This movie is part gangster film and part love story, and it does a great job at being both. "Public Enemies" gives viewers an inside look at many interesting criminal characters, and shows us multiple sides of America's favorite bank robber. I think this is one of Depp's best films to date, and he was perfectly cast in the role. A couple of things about the film annoyed me, such as small deviations from real-life history and an ending that just seemed a bit anticlimactic (and not just because I already knew exactly what became of John Dillinger). Overall, though, I thoroughly enjoyed this movie and highly recommend it, especially to fans of gangster films. This is one for the ages.

Well it's now the morning after the midnight showing of this movie and although I am a bit bleary eyed and still haven't woke up, I am taking a couple of minutes here to give you my take on this very well done movie. So without further ado (and please forgive the typos) let's get started.

If you seen the original movie Dillinger, which starred Warren Oates in the tile role and a very young Richard Dreyfus as Lester "Baby Face" Nelson, you would be inclined to think that this movie is simply a remake, and in some respects you would be correct, but it is not.

Mann and Depp do a remarkable job, as do all the other actors in this movie, in telling not only the story of John Dillinger, but also all the other players and circumstances that ultimately led to Dillinger's demise and the rise of the FBI, which may not have even really come into being had it not been for the exploits of Dillinger, but that is another story that really needs to be told.

Mann includes all of the historical characters in this movie and some of which you probably didn't even know existed unless you have done some research on your own. Characters including the infamous "Lady in Red" Anna Sage, who betrayed Dillinger and then was herself betrayed. Big surprise there! J. Edgar "Cross Dressing" Hoover, Melvin Purvis, Pretty Boy Floyd, and the entire host of depression era gangsters with the notable exclusion of Bonnie and Clyde.

My one complaint with this movie and this is strictly a male testosterone driven comment here, is that they spent way too much time on the love interest between Dillinger and Billie. I would like to have seen a few more detailed shoot-outs and bank robberies and leave the love scenes between the two on the cutting room floor. But hey, that's just my opinion.

With that aside, this is definitely a must see movie and I look forward to adding it to my DVD collection in a few months. Although I am sure that I am going to catch it at least one more time in the theater.

Shawn Kovacich
Movie Fan and Author of the Achieving Kicking Excellence series.

Ranking up there with his best works, namely Heat and Thief, Michael Mann's Public Enemies is a spectacular true crime saga, focusing on notorious bank robber John Dillinger (Johnny Depp) in the booming crime wave of the 1930s. At the behest of FBI head J. Edgar Hoover (Billy Crudup), G-man Melvin Purvis (Christian Bale) leads the charge to bring down Dillinger, no matter the cost. In the meantime, Dillinger romances the beautiful Billie Frechette (Marion Cottillard) as he moves from one big score to the next, all the while the cat & mouse game between him and Purvis continues to escalate. Shot on HD video, Public Enemies at times looks both spectacular and just plain blurry, but from a technical standpoint otherwise, the film is wonderful. On the acting side of things, Depp, Bale, and Cottillard are spectacular; while Mann manages to assemble a cast that also includes Stephen Graham as Baby Face Nelson, Stephen Dorff, Giovanni Ribisi, Stephen Lang, David Wenham, John Ortiz, Brotherhood's Jason Clarke, Rory Cochrane, Emile de Ravin, Leelee Sobieski, and Channing Tatum in a blink and you'll miss him turn as Pretty Boy Floyd. Though there are numerous liberties taken with the historical accuracies of the events, Public Enemies regardless ends up turning out being a purely entertaining blast that fires on all cylinders. All in all, Public Enemies ranks high on the list of Michael Mann's best films, and that in itself makes the film a worthwhile experience.

"We're not here for your money, we're here for the bank's money"--John Dillinger. Dillinger was a Great Depression era bank robber that some labeled as Public Enemy number one, and others idolized him. He robbed at least two dozen banks, murdered a handful of police officers and escaped from jail twice.

Michael Mann's "Public Enemies" manages to capture the iconic, crime filled life and ultimately the gruesome death of John Dillinger with remarkable accuracy. Dillinger's bank robbing career was shown with vivid detail; even his graceful movements during heists, earning him the nickname of Jackrabbit, were shown. Credit Johnny Depp for playing Dillinger in such a ravishing performance. Depp embodied the mannerisms, speech and character of the infamous bank robber.

"Public Enemies" is one of the best films of 2009. The direction of Mann combined with a superb cast led by Johnny Depp perfectly capture the essence of a Depression era crime story. Not handing over your money to see this film would be the real crime.

"Public Enemies" is excellent! This is how the story goes: No one could stop John Dillinger and his gang. No jail could hold him. His charm and audacious jailbreaks endeared him to almost everyone -- from his girlfriend Billie Frechette to an American public who had no sympathy for the banks that had plunged the country into the Depression. But while the adventures of Dillinger's gang -- later including Baby Face Nelson and Alvin Karpis -- thrilled many, J. Edgar Hoover made Dillinger America's first Public Enemy Number One and sent in Melvin Purvis, the dashing "Clark Gable of the FBI." However, Dillinger and his gang outwitted and outgunned Purvis' men in wild chases and shootouts. Only after importing a crew of Western ex-lawmen (newly baptized as agents) and orchestrating epic betrayals -- from the infamous "Lady in Red" to the Chicago crime boss Frank Nitti -- were Purvis, the FBI and their new crew of gunfighters able to close in on Dillinger.

The cast led by Johnny Depp (in an Oscar-caliber performance as John Dillinger), Christian Bale (as Melvin Purvis), & Marion Cotillard (as Billie Frechette) is excellent! The directing by Michael Mann (also co-wrote the screenplay and produced) (who also directed "Heat" (1995, also produced and wrote the story and screenplay), "Collateral" (2004, also produced), "Miami Vice" (2006, also produced and wrote the story and screenplay), "Manhunter" (1986, also wrote the screenplay), "Ali" (2001, also wrote the screenplay and produced), "The Insider" (1999, also wrote the story and screenplay and produced) & "The Last Of The Mohicans" (1992, also wrote the screenplay and produced) is excellent! The screenplay (based on the book by Bryan Burrough) by Mann, Ronan Bennett, & Ann Biderman (who also wrote the screenplay to "Primal Fear" (1996), "Copycat" (1995, also wrote the story), & "Smilla's Sense Of Snow" (1997) is excellent!

The music by Elliot Goldenthal (who also did the music to "Heat" & recently, to, "Across The Universe" (2007) is excellent! The cinematography by Dante Spinotti (who also did the cinematography to "Manhunter", "The Insider", "Heat", & "The Last Of The Mohicans", he also did the cinematography to the upcoming "The Chronicles Of Narnia: The Voyage Of The Dawn Treader" (2010) is excellent! The film editing by Jeffrey Ford (who also did the film editing to "Breach" (2007) & "Street Kings" (2008) & Paul Rubell (who also did the film editing to "Collateral", "The Insider", & "Miami Vice", he also did the film editing to "Transformers" (2007) and its sequel, "Revenge Of The Fallen" (2009) is excellent! The casting by Avy Kaufman (who also did the casting to the upcoming "25/8" (2009), "Brothers" (2009), & "Amelia" (2009) & Bonnie Timmermann (who also did the casting to "The Insider", "Heat", "The Last Of The Mohicans", & "Manhunter") is excellent! The production design by Nathan Crowley (who also did the production design to "The Dark Knight" (2008, which also starred Bale and was directed by Christopher Nolan), "Batman Begins" (2005, which also starred Bale and was directed by Nolan), "Insomnia" (2002, also directed by Nolan) & "The Prestige" (2006, also starred Bale and directed by Nolan) is excellent! The art direction by Patrick Lumb (who did the production design to "Flight Of The Phoenix" (2004, which was directed by John Moore), "The Omen" (2006, which was also directed by Moore), "Valkyrie" (2008) & the upcoming remake to "A Nightmare On Elm Street" (2010, which, ironically, its original, was Depp's film debut) & William Ladd Skinner (who also did the art direction to "Pirates Of The Caribbean: Dead Man's Chest" (2006, which also starred Depp) & "Pirates Of The Caribbean: At World's End" (2007, which also starred Depp) is excellent! The set decoration by Rosemary Brandenburg (who also did the set decoration to "Transformers" & the upcoming "The Rum Diary" (2010, which is also starring Depp) is excellent! The costume design by Colleen Atwood (who also did the costume design to "Manhunter", she also did the costume design to the upcoming "The Rum Diary" & "Alice In Wonderland" (2010, which also stars Depp) is excellent!

This is an excellent film that is one of Mann's best in a while; it is up there with "Heat" & "Collateral". This is one of the best films of the year, so far, by far. Johnny Depp is at the peak of his ability with this performance.

Nearly one hundred reviews for this film... and not one mentions what I wish to discuss. Not surprising, really. In fact, I missed it myself the first time I saw the film. I experienced Public Enemies in the theatre upon its release, and came in with high expectations. Michael Mann's films are (for me) always an experience to be savored, and once again I was not disappointed. But I confess I missed it. And I have no idea why. Because it is so obvious. What I am referring to is what I will call Mann's "off center" tendencies. Now, I am not referring to Mann's political, moral or social views but more accurately, his penchant (at least in this film) for framing his actors dramatically to the left or right of the center of the screen. From the opening moments - when we see Johnny Depp's John Dillinger (several months prior to achieving "Public Enemy #1" status) being ferried back to prison for what we will ultimately come to find out is a bloody prison break attempt - Mann sets his characters well off center. And leaves them there. Watching the film again last night, I saw this most clearly. In fact, if you pay close attention, you will discover that Mann uses this technique throughout the two hour and twenty minute drama. Shot after shot, frame after frame, we experience the rollicking, rumbling, scrambling, violent world that Dillinger and his crew inhabit as if we are sitting or standing right beside them. And as I watched the film for a second time, it became shockingly apparent to me why Mann chose to do this. He is showing us the entire world these men inhabit. A complete world.

Mann is known for his relentless pursuit of exacting detail, often going so far as to tell his actors what color and brand of socks their characters would choose to wear. And with Enemies, cinematographer Dante Spinotti (who Mann has thankfully returned to working with) goes to great lengths to display all of Mann's eccentric efforts. Whether it is a shot of Dillinger and his girlfriend Billie Frechette (achingly played by Marion Cotillard) seated at a crowded restaurant, a glimpse of Dillinger - double barreled and growling orders with a weapon in each hand - holding at bay both bank employees and customers alike, or a frame of FBI Agent Melvin Purvis (a lock jawed and in control Christian Bale) straining to shut out the tortured screams of a captured member of Dillinger's crew... Mann and Spinotti make certain to show viewers every inch of the world these loners drift in and out of. We see not only the two young lovers sharing fleeting moments together, but we are allowed to see the world closing in around them. We see not only Dillinger's expertise in his craft, but the fear and slight respect in the bank customer's eyes. And finally, we see not only Purvis' angst and uncertainty surrounding the direction his job is taking him, but the gore and filth in which he is forced to produce results. And in doing so, Mann succeeds in two things: The aforementioned entrance into this other world, and the emphasis on the loneliness and despair that each character feels throughout the film. It is a remarkable achievement. And I submit to you that Mann keeps his characters off center for the entirety of the film, with the stark exception of two occasions:

One is when Dillinger - by now stripped of his one true love and oozing pain out of every pore - steels himself in a pronounced display of balls (there is no other word for it) and marches brazenly into the Chicago Police Department's Dillinger Task Force squad room. From the second Dillinger steps into the elevator, Mann and Spinotti place him front and center in this moment. Watch as he sidles through the squad room unnoticed, glancing at painful images of his fallen crew, his bloody path of destruction, and finally, himself. In each shot, Mann plants Dillinger squarely in your face. Right up until he asks a group of lazy cops the score of the radio broadcast baseball game. Oh, and don't think for a moment these flatfoots even notice who he is. And out the door he rolls... back into his off center world.

The second such time is the far more painful - and bloody - confrontation between Purvis' team of hired hands and Dillinger himself in the ill-fated final moments of the film. Watch as Dillinger - smirking yet a bit spent - exits the soon-to-be famous Biograph Theatre and walks ever forward toward a fate we are led to believe he has already accepted... until he turns to face the men he senses behind him. At this moment Mann again thrusts Dillinger directly into your face. And what was to the left and to the right of the man become far less important, until the fatal shots ring out and Dillinger falls, mortally wounded, to the blood soaked sidewalk.

With the exception of these two instances, Mann's shot selection reminds us of what lies just outside each character's peripheral vision. And in doing so, perhaps Mann has succeeded in doing a third thing. Perhaps, just perhaps, Mann has succeeded in reminding each and every viewer that the world in which we all reside is just a bit larger than we realize. We all live in a complete world. And Mann is the master at showing it to us.

Most of this film works incredibly well. The period piece feel is completely effective, and Johnny Depp is compelling and watchable as Dillinger. I felt Christian Bale's performance was well judged, as he played a man who was a bit of a weasel but it's not how we're used to seeing Bale.

For the rest of the cast, Stephen Graham stands out. The violence and setpieces are well done, some of the best I've seen.

The flaws are in some aspects of the narrative, which flags in places, and that some confusion on minor points can arise. But overall this is good cinema and well worth seeing.

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