Public Enemies

Michael Mann's latest crime epic follows John Dillinger during his reckless spree of bank robberies during the early 1930's which landed him as the number one target on the newly established FBI's most wanted list. Or so we are intended to believe. The true story is the detail of life during the tail years of the great depression, and the uprising of organized crime and the government's response to it. I would contend that the main character is not Johnny Depp and his suave, brash depiction of the legendary criminal, but Christian Bale's Melvin Purvis, who as J. Edgar Hoover's FBI super agent, brought down Pretty Boy Floyd, Baby Face Nelson and John Dillinger.

It is a tremendous story, and although I can't attest to the historical accuracy, it was done in a manner as would be expected from a Michael Mann crime drama. He has a tendency to romanticize or glamorize the criminal element in a way that garners endearment from the audience. Perhaps intentional, or possibly just a byproduct of his film making style, he did this with DeNiro in Heat, Cruise in Collateral, and now Depp in Enemies.

Keeping with tradition, Mann coupled two big name stars with an exceptional supporting cast, and although Marion Cotillard seemed an odd choice for Depp's love interest, she had the right look of a woman during that historical time. The most notable supporting player is Stephen Lang as Purvis' right hand man. He has been around a long time playing cops, criminals and cowboys mostly. His most recognizable role to date would probably be as Ike Clanton in 1994's Tombstone. Giovanni Ribisi also delivers a surprisingly strong performance as Dillinger's fellow fugitive Alvin Karpis.

The thing that distinguishes Michael Mann films from others is the completeness of the action scenes. There are no cuts, no audience assumptions, no easy getaways. Mann takes the time to show us exactly how a fugitive breaks out of prison. Or how a bank robber makes his getaway. Or how an assassin completes his job. Or how a gunfight starts and ends. It is the linear unabridged delivery that gives the story credibility.

Admittedly, I am not a fan of Johnny Depp. I never have been, and I don't suppose I ever will be. He is basking in his element however with this role. Christian Bale on the other hand, I have enjoyed in the past, but his last few performances have left something to be desired. This one is unfortunately no different. He shows us no real range of emotion which leaves us without any sort of understanding of the character of Melvin Purvis, and consequently no real connection.

What makes this film work, and makes it compelling is the authenticity of the action as well as the cat and mouse drama. You know how it is going to end before you step foot in the theatre, but the ride is fantastic. Tommy-gun fire fights between cops and robbers in classic Fords evokes a feeling of nostalgia for the gangster films of years past, but it is done with a modern realism which charges the film with adrenaline.

The action scenes are fantastic. This film takes me back to 1995's Heat with the 10+ minute shootouts and thorough character capturing sequences. Contrary to other critical reviews, the story was not confusing, plot lines did not cross, and there was not excess background plot noise. There was just enough to convey the message; audience immersion into 1933 Chicago and the rise of a new kind of criminal.

I only have two criticisms of scenes that detracted from the tension and realism of the story. Both involve Dillinger brashly walking into situations that no criminal, no matter how brave or confident would walk into. The point was clearly to show that the man had no fear and was narcissistic to no end, but it went a bit too far and spoiled the moment.

Other than that, I was very impressed with every aspect of the nearly 140 minute film. Michael Mann returns to form, and does not deviate from his trademark style. That style is what has made him the best crime drama director around today. 8/10.