PUBLIC ENEMIES
By: ALL STAFF
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For the most part, Public Enemies succeeds on many levels...
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LUCAS
I wanted to love this movie. Michael Mann is one of my favorite directors, and is a visionary behind the camera. He knows how to work
a camera, and often his movies reflect his genius. Yet, with movies like Heat and the Insider under his belt, he has set an incredibly
high bar. Unfortunately, I use those two movies as my standard for Mann’s movies, and he failed to deliver. Technically, the movie is
near perfect. He used a digital high definition camera to shoot most of the film, and it felt like a real life documentary. The picture was
crisp, and his cuts/transition shots were seamless. The gun shot sequences were probably the best thing about the film. Every time
a machine gun went off, the theater felt like it was shaking. It literally looked like something out of a video game. For that alone, you
might want to experience the movie. Just make sure you have an HD tv and surround sound.
For the most part, the acting was strong. Sadly, Christian Bale gave another unmemorable performance, and was completely
overshadowed by Johnny Depp, Marion Cotillard, Stephen Graham, and Billy Crudup. He spoke for a total of 15 minutes, and maybe
uttered 35 sentences. He still had the “Dark Knight” voice (in the 30s), and was uninteresting. Depp and Cotillard were the true
gems. They’re convincing and charming at the same time. The movie didn’t do a great job in developing their relationship, but they
were able to fool me into believing it. Cotillard started off weak (too many poorly delivered lines), but picked it up in the second half.
She had great synergy with Depp, and this made the romantic angle of the film more interesting than the good guy/bad guy gangster
angle (huh!?).
Mann tried to capture the essence of Heat. He painted Dillinger in a different light, and showed that “villains” can have some
compassion. Unfortunately, the plot and story wasn’t nearly as captivating as Heat. It was a tad bit too long, and lacked a gripping
narrative. I know Mann was working with history, but he should have taken some liberties in creating a more compelling story. In
essence, even with killer gun shot sequences, the film was uninteresting. I probably checked my watch 6 times, and it shouldn’t be
that way in a Michael Mann movie. The Insider did not have any gun sequences, and I was glued to the screen. I can’t pin point why the
film was dull, but I’d recommend watching Heat immediately after watching Public Enemies if you want to see Mann at his best.
**1/2/****
MAGIDSON
Much like John Dillinger was only concerned about the here and now, and not the future, Michael Mann’s Public Enemies is only
concerned about the here and now of the film (America during the 30’s) and not about the past of any of its characters. What the film
lacks in characterization and a subpar script, it makes up for with tremendous performances across the board (nearly every person in
the film has to overcome underwritten characters), led by one of Johnny Depp’s most complete performances, some of Mann’s best
direction ever, and the type of summer movie that people like me long for. Public Enemies is a character study masquerading as a
blockbuster in an era where the opposite is true far too much of the time.
This is more or less a biopic of legendary bank robber John Dillinger (Johnny Depp, sitting pretty for an Oscar nomination), his crew,
and the FBI’s hunt to catch him during the last years of his life before that fateful night at the Biograph Theater. On one side of the coin
we have Dillinger and the likes of Baby Face Nelson (Stephen Graham), along with Dillinger’s true love Billie Frechette (Marion
Cotillard), and on the other side was the FBI, directed by J. Edgar Hoover (Billy Crudup, who often steals the show) and led on the
ground by Melvin Purvis (Christian Bale). Set against The Great Depression, Public Enemies is the story of a man who may have been
both Public Enemy Number One and America’s Biggest Hero at the exact same time.
Johnny Depp plays Dillinger with the perfect mix of confidence, intensity, and fun that seems indicative of who the man really was. He
captures your attention whenever he is on the screen. What is all the more remarkable is that we care about the character in spite of
the script not giving us a reason to. Christian Bale is good as well, but doesn’t fare as well due to his character being almost a cipher
instead of a real character. He never gets a real moment to shine (except for a scene towards the end where he exhibits a bit of
humanity when it’s desperately needed by someone you wouldn’t expect him to help), and that makes his brooding less of a character
feature and more just Bale trying to make something of a character that really is nothing. Marion Cotillard, Stephen Graham, and Billy
Crudup also have the same problem, yet only Cotillard is on screen enough to make it readily apparent, though she is luminous and
does a good enough job to make her work worth a positive mention. Crudup gets special mention for his period accent and the
dynamic nature in which he swoops in periodically. If I had my druthers, he’d be on the short list for Best Supporting Actor, but we shall
see. As it stands, Depp is the only one right now who should be reserving a seat at the Kodak Theater.
Michael Mann shot this on handheld digital HD cameras, and it shows. What at first creates a mild disconnect due to the period
setting ends up by the end drawing you in as if it’s a documentary. You feel as if you are there and that helps to eliminate some of the
script concerns the movie has. Mann is able to mostly direct himself out of the jam the screenplay left him in.
Aside from the script, my only issue with the film is that it has a few too many repetitive scenes (we see men looking into the eyes of
other men who are dying far too often). The good definitely outweighs the bad here. The closest film comparison is last year’s
American Gangster, but this is a more balance and more complete film, with better direction and better acting, despite having similar
screenplay issues.
With a stronger script, Public Enemies would have been one of my favorite films of the year. As it is, the direction and acting are
enough to raise it up and make it a film worth commending. It’s flawless on a technically level, just not on the personal level that
would have made it a classic of the genre or a front running Oscar contender. As it is Public Enemies is a very very good film, just a
few inches shy of being a truly great one.
***1/2/****
DAVIS
Michael Mann's Public Enemies is definitely one of the best films of the year and probably the strongest of his career. Taking into
account Heat (savagely overrated), The Insider (his only Oscar nominated work and definitely worth it), and Collateral (which fails for
me on multiple levels), when you place Enemies next them, one must wonder what critics and audiences didn't get about the film.
It was by far Johnny Depp finest dramatic turn of his career. This would be a role I would love to see Johnny at the podium receiving a
gold man for. Marion Cotillard is much of the anchor of the picture as she is a beautiful presence, igniting the screen with every word,
tear, and smile. Billy Crudup who takes on his role with much ease and makes it seem effortless (which is his downfall for this
awards season I presume) takes on his minimal screen time and takes charge. The worst part of the film, unfortunately is Christian
Bale who's flat acting and seemingly useless role (which might be the screenplay's fault) does nothing more for the picture than a 30's
automobile.
I expect big chances in editing, cinematography, acting nods for Depp and Cotillard, and a possible Best Picture nod for Public
Enemies. Oscar take note, this is something of a revolutionary picture.
***1/2/****
HUGHES
Sporadically entertaining, well acted, and beautifully staged, this film ultimately comes off feeling like a mere teaser of the great crime
saga it could have been. As is, it settle for merely being good, featuring some fantastic scenes and brilliant gunfights. Johnny Depp is
at the top of his game and ensures that the picture is always entertaining when he is on screen. Though Christian Bale unfortunately
flounders in an underwritten role, Billy Crudup, Stephen Graham, and Marion Cotillard put forth strong work in supporting roles.
***/****
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