Public Enemies

"Die like you live: all of a sudden." This line was spoken by Clark Gable in the 1934 film Manhattan Melodrama. I find it fitting that director Michael Mann (Heat, The Insider, Miami Vice, Collateral) uses this scene in Melodrama in a scene of his own in his latest creation Public Enemies. Why do I find it fitting? Not only is it poetic to see two of my favorite actors from two different eras somehow on the same screen; but it was a wonderful way to see Johnny Depp's John Dillinger connect with a character as large as his own. It was if Dillinger was looking into a mirror and with the side smirk Depp is famous for, Dillinger conveys to the audience that he knows his days are just as numbered as the character he's watching.



Public Enemies opens with an edge of your seat jailbreak that screams arrogance on Dillinger's part. The cast of criminals makes it look all too easy and the scene is the perfect setting for the soundtrack to grab you and make it's presence known. Scored by Elliot Goldenthal (Frida, Batman and Robin, Heat, and The Good Thief) the music of this film does a fantastic job of putting exclamation points at just the right times in each scene. It lends its voice to the era in which the film reflects. Many times you not only see the 1930s (through wonderful costuming and set efforts) you hear and feel it through the melodies Goldenthal projects.



The story of John Dillinger's life revolves around his hiests, his criminal family (Baby Face Nelson, Pretty Boy Floyd, and others) his woman Billie; touchingly portrayed by Oscar winner Marion Cotillard, and his nemisis at the FBI Melvin Purvis (Christian Bale). Dillinger and his band of ganster brothers tear across the country in a series of bank heists. Each job promising to be bigger and better. Each job putting Dillinger higher up on the Wanted list. J. Edgar Hoover (Billy Crudup) is frantically putting together a new force with the ultimate goal of ridding his cities of Dillinger, who will later become known as Public Enemy #1. The force? The F.B.I.

This is where Christian Bale introduces the audience to Agent Melvin Purvis. Bale's performace drew me in to the character of Purvis but sadly the character development was lacking. We never know the backstory of Purvis. Mann could have created a deeper connection between the audience and Purvis if he had given us even a glimpse into his past or a look at his true motives behind catching Dillinger. Bale had a real opportunity to shine but was not given the chance with this role. The same can be said of Crudup's role as J. Edgar Hoover. The acting was there but the character development was not.

Depp does not disappoint with his interpretion of Dillinger. He delivers his smug arrogance in classic Depp style. In one scene Depp strolls his Dillinger into the Chicago Police Department's Dillinger Investigation Unit. His enemies sitting blankly at their desks concentrating on paperwork, Dillinger boldly walks up and down the hall viewing police photos of his fallen comrades; pausing at each photo. At one point he asks the score of a baseball game on the radio. Never looking up to see who is questioning, the cops stupidly reply with the score. Dillinger smirks in classic Depp style and walks out.

Perhaps the shining performance of this film is that of Marion Cotillard. Her portrayal of Billie Freshette, our bad boy Dillinger's love interest, is captivating. Yes, the film is naturally all about Depp as Dillinger, but Cotillard's performance brings an element of grace and beauty to Depp's cold criminal aura. Her performance draws out the human side of Dillinger and creates a connection with the audience in which you can't help but want Dillinger to escape the law at each turn. Cotillard shines brightest in her gritty performance midway through the film when Billie is arrested and charged with helping Dillinger stay one step ahead of the law. She is beaten over and over in a brutal interrogation, even pissing herself at one point, but never gives up her love. Cotillard is committed to the character here and her performance holds you breathless throughout.

The cinematography of this film struck me immediately. Not only does the excellent costuming, set effects, prop pieces ( I loved the gangster Tommy Guns and cars) take you back to Depression Era America; the sweeping camera shots do their part to connect the audience to the time period this film travels through. Mann cleverly used the art of backlighting and crane/traveling shots in many scenes along with tight close ups of Depp and Cotillard a la Film Noir. These techniques help transport the audience back in time in such a powerful yet subtle way.

Public Enemies is NOT The Godfather but it is a great summer flick worth seeing. All the elements are there. Gangsters you secretly root for, lawmen you are conflicted about, guns blazing, a story line rooted in history, and a hint of love. If you know history you know how Public Enemies ends but it was still exciting to see Mann take Dillinger to his demise. And very fitting to see Clark Gable meet his demise just moments before Dillinger leaves the theatre to meet his own.


CAST: Johnny Depp , Christian Bale, Marion Cotillard, Giovanni Ribisi, Stephen Dorff , Jason Clarke, David Wenham, Channing Tatum, and Billy Crudup



Rating: R