Nemico pubblico - Public Enemies

My grandpa's first reaction when he heard this movie was being released was -why? Why yet another movie about Dillinger? What can it add? My grandpa's question triggered my thinking. Movies and Hollywood filmmakers don't seem to care anymore about adding something to history or the medium. They just seem to compulsively adapt other movies, toy lines or videogames into modern reworkings. It's a culture of thoughtless recycling. Fortunately, and although I haven't seen the '30s or '70s biopics, Michael Mann does have something to show.

The first surprise is how the movie is shot. As one of the most vocal followers of digital video, Mann seems to exploit its handicaps instead of trying to convince us it can look as good as film. Throughout the movie we're treated to 3D video feel, artificial grain and close-ups which show up every pore on the actors skins. It's like someone sent a documentary crew back in time. However, this incongruous approach also made me experience the 1930s in a way I'd never done before, as a reality instead of a postcard. Almost all movie depictions of the "public enemies" era (even the gritty ones, like Bonnie and Clyde) are stylish and sophisticated. Instead, Mann's compulsive attention to prop and costume detail combined with the hand-held camera-work are immediately urging and attention-grabbing.

Mann, as a filmmaker, always seemed to me more interested in technique than depth or story. This is arguably the same film he has made twice before (I'm talking about Thief and Heat), only this time history-based. As I read on about Dillinger and Melvin Purvis after watching the film, I realized the movie's script is very unusual in that it almost seems to strip the juicy bits out of the story. Where is the scene with the people soaking their handkerchiefs on Dillinger's blood, or the '30s era depression portrait? Like you guys were saying, Little Bohemia was in fact an embarrassment to the FBI in which civilians got shot and the criminal walked away unharmed. Except for a weird scene in which Dillinger walks into the Chicago police station and wanders around, there's a very down-to-earth approach to the character, taking away his more mythical elements and leaving us with a career robber who, like James Caan's character in Thief, seems to abstractly decide to fall in love to make up for lost time.

The movie focuses obsessively on this relationship, instead of the more obvious paths it could have taken. Hoover's incompetence and his closet homosexuality are brief side notes. So is Melvin Purvis. The movie strips him of a personality, showing only the professional side of the policeman. This is so evident that when the title card near the end informs us that he later shot himself, I had to laugh it was so random. I seem to be speaking against all of this, but in fact what I'm doing is pointing out how unusual all of these directorial choices are. In fact, I celebrate them. Public Enemies is a movie that might seem frustrating to many, but to me, it was a refreshing, exciting journey into a world too often depicted and too easily neutralized. It's a great thing to see a copmen-and-robbers film without feeling like I've seen it all before. And make no mistake, the film's action scenes are intense.

I'd like to finish by pointing out that the movie has a hell of a cast. Johnny Depp is a revelation in a time when it looked like his awesomeness was exhausting itself. Christian Bale is not given much to do as Purvis, but he's competent, mostly the Bale serious face we see too much of all the time. Billy Crudup's Hoover is great, he deserves his own flick. Marion Cotillard is a great foil to Depp. There are a lot of very famous faces on the film (in fact, maybe too many), and some of them are only in for very brief seconds - Lily Tomlin, Giovanni Ribisi and Leelee Sobieski enter and leave the screen and they're all very good, but none have any big scenes. This might be the artsiest blockbuster I've ever seen. Which, in my mind, is a compliment.

The year is 1933, it's the Great Depression. A time for the desperate to do the unthinkable. Crime was on the rise and people were suffering. For John Dillinger (Johnny Depp) it was a time of infinite possibilities and opportunities. To combat the sharp incline in rampant criminal activity, J. Edgar Hoover (Billy Crudup) forms the FBI, led by Melvin Purvis (Christian Bale). Together they target Dillinger as public enemy number one. Relying on new methods of intelligence gathering (such as tracking the purchase location of a coat or recording phone conversations), the firepower of trained gunmen, and his own relentless nature, Purvis gets closer and closer to Dillinger and company.

"I like baseball, movies, good clothes, fast cars... and you. What else do you need to know?" - John Dillinger. Johnny Depp IS John Dillinger. He's perfect for the role. The cool, confident and almost cocky nature of the character is really portrayed on screen (such as bragging to reporters about his bank jobs and teasing Purvis and agents who are after him). It's a look of how a man lived and succeeded in a hard time. Dillinger was a man that lived in the moment as only a man in the depression could. From the worlds on John Dillinger, "I'm to busy having fun today to even think about tomorrow." Who knows what tomorrow might bring? Bale also succeeds in his role and is a solid counterpart against Depp. It works well having two top, well known actors opposing each other on screen.

The film is directed by Michael Mann who brought us such films as Heat, The Insider, and Collateral and he adds another good film to his resume with this one. The action sequences, bank heists, and shootouts in this film are probably the biggest highlights. After all, this is from the same guy who gave us one of the most famous and arguably the best shootout of all time in Heat. The sequences are cool, slick, and gritty. Excellence at it's best. (I have to throw in a note of praise for the superb shootout at the Little Bohemia lodge, which was an extremely impressive scene)

The cat and mouse aspect makes it intriguing, but I think more could have been added to it. It just feels as if something was missing. Much of the film focuses on the love story between Dillinger and Billie Frechette (Marion Cottillard) It's also interesting to see the other gangsters of this time and how they relate to Dillinger and the criminal world.

Much has been made of Public Enemies being filmed on HD video, mostly complaints. I must say that at times, the picture looked amazing. The night sequences, especially looked beautifully slick and realistic. I loved the cinematography here. The cars, headlights, street lights, and everything looked fantastic. Other times, it doesn't look as good. It just felt as if something didn't look right. I'm not sure what to think about this.

One problem I had with this film would have to be the lack of character depth in many of the characters. At times, it seems as if we are expected to know and understand the characters before going to see the film because it is a real life story. But as a film, it could have developed the characters more to help us (and those who know nothing about Dillinger, his life, or Purvis and the FBI) understand them better. Another problem was some of the historical inaccuracies. Many things portrayed in the film, do not happen as they did in real life. Many sequences are just out of order. I know the filmmakers had to know about this and just tried to work it in as best as they could. It's not a documentary, it's a movie.

I really enjoyed Public Enemies. It's a solid crime drama and a good summer film. I understand expectations were through the roof, but that's a little hard to ask for. It's a really good film, but not quite a great one... The action is fun, the story is interesting. Maybe instead of being a very good film, it could have became a really great film if more was put into the characters? I'm not sure. It just felt as if something were missing. But who can knock a film for still being good?

Digital is the world of Michael Man with all its drawbacks. It works up to a point, if you don't mind being distracted by the make up on the actors faces, pimples and blemishes. The final adventures on John Dillinger's life look and feel like a work of fiction and I suspect that in "Public Enemies" they are, 50/50, fact and fiction. Johnny Depp is marvelous no matter what and his is a star performance. There is only a vague approach to a real characterization, but I didn't care because I go wherever Johnny Depp wants to take me. It was like that with Gary Cooper too, wasn't it? Part of the sneaky narrative is to have Dillinger the criminal played by the angelic Depp and Purvis the noble FBI guy played by Christian Bale that emanates evil without even trying. If you're interested in performances, like I am, Billy Crudup is the thing in a sensational turn as J Edgar Hoover in spite of the digital thing, that makes him look as if Hoover suffered from some rare skin condition, damn shame if you ask me. Marion Cottillard is absolutely lovely but we knew that already and the rest of the characters remain an enigma, they enter and leave the scene without us ever having a clue who they are. Giovanni Ribisi, Stephen Dorff, Jason Clark, who were they and Lelee Sobieski? It was startling to see her appear on the third act. Who was she suppose to be? In any case, the film has a Michael Mann feel and it's technically great. The shootings are extraordinary and Johnny Depp totally beautiful. I suppose that should be enough to applaud and recommend "Public Enemies". I did and I will even if, I must confess, I expected more or maybe less.

This film is about a criminal mastermind who is elusive to the American authorities back in 1930's.

I cannot believe how boring "Public Enemy" is. I already felt thoroughly bored after twenty minutes, and after one more hour it does not get better at all. There are many problems with the movie. Slow pacing is the obvious problem, as the filmmakers spend too much effort trying to make the film atmospheric. They have simply forgotten that as an crime thriller, we need more action to engage viewers. Instead, most of the film is just talking and talking. When it does show an occasional gun fight, it is unbelievably detached with no intensity or thrill. It is as if the gun shots are played on tape, and are not from the supposed fights. Another problem is that 90% of the scenes are far too dark. It is not fun to look at silhouettes or shadows continuously. When we do get to see faces, most of the time their eyes are hidden under the shadow of their hat. Without this eye contact, I feel disengaged and disconnected from all the characters.

"Public Enemies" is a very boring movie for me. I struggled so hard to keep my eyes open, and I have to say I lost the fight.

I liked PUBLIC ENEMIES but I didn't love it. It comes close to feeling like an epic at times, detailing the cat-and-mouse games between infamous bank robber John Dillinger and the G-man on his tail. Unfortunately the screenplay feels a little bloated at times and the truth is that while Michael Mann is a consummate professional as director, his films always possess a certain coldness that makes it hard to get close to the characters.

And that's the case here. Superficially, the movie looks good and the characters go through the motions with aplomb, but you never really care about what happens to them. Bale's protagonist is totally unmemorable, leaving Depp to hold the fort as the anti-hero of the piece, but whenever the film moves away from a complex action set-piece it falters. Depp's romance with Marion Cotillard is particularly gruelling and heel-dragging.

Nevertheless, the drama and excitement when it comes is very well handled, with the shoot-out in the woods particularly fine and the bank robberies all staged very well. As ever, Mann has a steely eye for the action so the film zips along when concentrating on them; it's everything else that's a bit lacklustre. In addition, the cast is so big that the supporting players, like Stephen Dorff, James Russo, Billy Crudup, David Wenham and Stephen Lang get lost in the mass, each lacking truly memorable scenes. The ending, when it comes, seems almost arbitrary.