When you think 1930s gangsters, the likes of James Cagney and Edward G. Robinson come to mind, with their tough-guy looks and “You dirty rat” mentality.
In his latest directorial effort, crime auteur Michael Mann wants you to forget those iconic characters from Hollywood’s Golden Age. Though Mann has worked in the realm of the biopic (2001’s “Ali”) and his go-to genre of crime thriller, never before has there been such a sublime mixture of the two than in “Public Enemies,” the director’s best film since his 1995 masterpiece, “Heat.”
Public enemy number one, John Dillinger (Johnny Depp), is on the loose with his band of merry men, robbing banks in the Midwest with coordinated precision. Dillinger has just been released from a 10-year stint in prison and with his newfound freedom, he’s living like there’s no tomorrow. Unfortunately, the era of the American gangster is coming to an end, thanks to the first FBI Director, J. Edgar Hoover (Billy Crudup), and his G-Men.
One of these men is special agent Melvin Purvis (Christian Bale), who is assigned to head up the FBI branch in Chicago, the city that Dillinger calls home. In the midst of this cat-and-mouse game, Dillinger falls for Billie Frechette (Marion Cotillard), a tough dame who is intrigued by his smooth ways.
If you know even a smidgen of American history, you know how the film ends, but to Mann, it’s not about the ending — it’s about being put in the shoes of one of the most famous criminals ever. Like his past two films, “Collateral” and “Miami Vice,” Mann has utilized digital cinematography to amp up the gritty and cold nature of the film’s locales.
This style of cinematography, captured beautifully by Dante Spinotti, gives “Public Enemies” an immediacy and a freshness that keeps it from feeling like a nostalgic look back.
It’s nice to see Johnny Depp truly acting for what seems like the first time in years, instead of playing a pirate or a Tim Burton character. Depp is able to completely anchor a scene without saying so much as a word.
Adorable and endearing as the ballsy Frechette, Cotillard is a great counterpart to Depp and easily holds her own. Bale, as Purvis, might disappoint some, if only because his role is much more supporting than his co-stars, but as always, he delivers a nuanced performance that doesn’t even bring to mind a certain caped crusader.
The amazing thing about every one of Mann’s films is the attention to detail. By showing the intricacies of a Tommy gun or agents camped out in a telephone switchboard room, Mann creates a fascinating world that envelops the viewer. In a summer filled with popcorn movies, giant robots and romantic comedies, it’s nice to be able to sit down and intellectually stimulated by one of the best films so far this year.
Rating: 4.5 out 5 stars
Be the first to comment on this article!