I Admire Your Pictures Very Much

A Review of "Public Enemies"
By Jeff Webb

“Public Enemies” is not new or original. The story of John Dillinger has, many times, been brought to life through literature and film, and the basic plot of “Public Enemies” follows along the same lines as many other classic—and superior—crime films, such as “The Untouchables” and “Heat.” However, perhaps never has such a story about Depression-era crime been told with such grit and honesty as “Public Enemies,” acclaimed director Michael Mann applying modern sensibilities to an old story. The end result is brutal, tense fun.

Mann, the director of the aforementioned “Heat” as well as “Collateral” and “Manhunter,” has always had a knack for depicting crime on film, and “Public Enemies” is very much a Michael Mann film. Yes, the people are pretty, the settings are nostalgic, but the camera work—while slow and clear at some points—can quickly become rapid and grainy, and that is pure Mann. Viewers aren’t used to seeing this type of old-style gangster movie filmed like a police procedural about two cops in South Central, but the lack of sentimentality makes the film unique. Even the legendary “Bonnie & Clyde,” which was groundbreaking in its portrayal of violence onscreen, digressed into comedy and melodrama at times.

Evidence of the power of this filmmaking objectivism is clearly evident in the climatic shoot-out with George “Babyface” Nelson. There is minimal music, minimal lighting. We just hear the punches, the gunshots, and we see the resulting corpses. In a way, it’s savage, but it’s so very real.

However, “Public Enemies” falls short of other classic crime dramas, though, mainly due to character development. John Dillinger robs banks, and Melvin Purvis is the FBI agent charged with tracking him down. That’s about all we know about the two main characters, and, while this fits with the film’s terse tone, it’s not quite as effective. What makes the film unique is the way it tells an old story in a new way. What makes it fail is that, while the technique is new, the story is still old.

At the end of the film, audiences might be left asking, “Why did we really care if Dillinger got away or not?”

That is a question that is never really resolved.

However, working with what they had, all the actors do an exceptional job. Johnny Depp delivers as John Dillinger, though, with the exception of one or two scenes, he isn’t necessarily electric. Christian Bale as Dillinger’s chief antagonist is quite wonderful, ever-stoic and tough, but it is Dillinger’s story, and Bale never really gets an opportunity to come alive, but that is a problem with the script and not a fault of the actor’s.

Marion Cotillard as Dillinger’s girlfriend, though, is the film’s real stand-out, perhaps because she is the best developed character, or perhaps just based on Cotillard’s sheer talent. Either way, she gives her character life and takes her through a whole range of emotions.

It should be interesting come next winter to see whether “Public Enemies” benefits from the expansion of the Academy’s Best Picture field from five to ten. It’s not winner-worthy, but, depending upon further releases this year, it might be good enough to warrant a nomination. At the very least, though, “Public Enemies” is certainly the best of the summer, thus far, one of those rare gems that comes along in the middle of the season that melds both blockbuster and arthouse flick into one enjoyable experience.