3 ½ Stars: Criminally Stylish But a Mere Imprint Than a Portrait of the Notorious Bank Robber

Director Michael Mann’s “PUBLIC ENEMIES” is based on the conscientiously researched book by Bryan Burroughs that chronicles the epic manhunt for infamous bank robber John Dillinger. The movie is faithful to its source material, it offers nothing else but an abstract impression on the life of the notorious criminal and misses the mark in becoming an intimate docudrama. Set during the depression era; a period when outlaws like Dillinger were seen and envied as rebellious folk heroes for their disrespect for authority. Mann’s film documents the phenomenon and touches on this element, but it never truly exposes the why, how and what motivated this image of Dillinger.
 

Three years into the Great Depression, John Dillinger (Johnny Depp) and his band of robbers (including Stephen Dorff, Jason Clarke and David Wenham) has made a reputation for themselves as the most wanted men in the America, robbing banks quickly and efficiently. Dillinger and his crew have caught the attention of J. Edgar Hoover (Billy Crudup, Watchmen) and calls in special agent Melvin Purvis (Christian Bale) to bring him to justice by any means necessary. Now operating mostly in Chicago, Dillinger becomes smitten by local girl Billie (Marion Cotillard) who herself becomes swept away by the crook‘s suave, charisma and promise of love and commitment. Dillinger hopes to keep a low profile but fate has dealt him a hand full of betrayals that puts him on the run from the swarming G-Men as well as putting his associates at risk…
 

Johnny Depp is enthralling in his role of John Dillinger; Depp becomes the epitome of cool, but sadly, Mann’s screenplay doesn’t match the actor’s charisma. Michael Mann is no stranger to the cops and robbers genre, and he has created his own cinematic style by shying away from the workings of customary storytelling armed with a lengthy screenplay and the magic of modern technology. Michael Mann shows Dillinger as seductive, suave and charismatic and while Depp has convincing appeal, Mann never goes into the reasons why he became such a celebrity. The direction merely touches upon the fact that Dillinger never robs the common folk, cares about what the public thinks (which is why he would never resort to kidnapping) and he releases his hostages after a getaway; But the how and the what is never brought into play. The film feels that it is a mere ‘taste’ of the life and times of John Dillinger while the viewer is given an overload of gunfights, dames, and cool camera work. The film becomes trapped in a murky aesthetic that the film is lost for a need for a contemplative deliberation on Dillinger’s life.

           

                            
 

Michael Mann also misses the opportunity to expose the persuasive parallels between Dillinger and FBI agent Melvin Purvis (played by Christian Bale, The Dark Knight), the person handpicked to bring Dillinger to justice after his success in the apprehension of “pretty boy Floyd”. Both men became 'media sensations' during this period, for reasons different but in ways, also very similar. Bale is intense in his portrayal but lacks depth in his personality as a boy scout who is caught between doing whatever is necessary to bring a fugitive to justice and his distaste for the necessary savagery needed for the job. Dillinger on the other hand feels annoyed by his trigger-happy associates but he would not shy away from a confrontation. Dillinger was made indignant by his time in jail for robbing a small store, the man is a robber with grounds for his behavior; he wants to live the good life during this era of the Great Depression. Johnny Depp is definitely fit for his role as the infamous Dillinger who is just so full of life and wit complemented by his dashing personality as shown in his escape and the manner that he toured the police station. The film does show Dillinger as a gutsy, calculating character who is not afraid of risks. Billie (Marion Cotillard, Big Fish) is the woman who becomes attracted to his honesty and promises of undying love; Cotillard is convincing as the woman who captured Dillinger’s affections, she is simple and she exudes the type of woman one would be interested in marrying.

          
 

The film does look gorgeous in the manner it is shot. The cinematography, costumes and set designs are reflective of this era. Mann does keep the camera close to the actors’ features in an attempt to cover the emotion within the scene. This is a nice approach but for the untrained movie watcher, they may see this as a mere display current HD technology by showing Bale’s and Depp’s imperfections. The night scenes are almost inky black, but it manages to show detail in the scenes. Cinematographer Dante Spinotti’s work may feel a little uneven on certain scenes but it was nonetheless good especially in the gunfights. The film may not be an action-packed affair but it does have its share of intense gun battles between Dillinger’s and Purvis’ crew. They are bloody and they look quite realistic in their choreography. It was nice to see old-fashioned Tommy Guns and semi-automatic rifles thrown into the mix although they become rather repetitive shadow plays after awhile.

          
 

What “Public Enemy” lacks is a balance for its characters, it never really gets into a mood that reflects a cerebral deliberation on the Dillinger character. All the movie teaches its audience is the fact that Dillinger was undone by his loyalty to friends, lovers and colleagues. He would never abandon them, even “Baby Face” Nelson whom he can barely tolerate and we all know what happens when someone keeps close relations. The film is hampered by tracking the romance between Dillinger and Billie, but they share very little ‘hot’ chemistry to justify their obsession for each other. Depp makes the most of his underwritten role and the script gives limited material to understand this anti-hero that Mann wants to bring into exposition. The script plays around with a moral code that it never fully develops, he is neither a man who gives to the poor nor a criminal mastermind, instead Dillinger is shown as a man with a legacy because of newsreels and headlines, much to the gangster’s amusement. It does throw an idea of the media’s tendency to sensationalize shady figures but again, it was abandoned abruptly. Mann was just so concerned in his anti-hero worship and romanticizing his character through his relationship with Billie that the viewer has no time to invest and be attached to the Dillinger persona.
 

“Public Enemies” could have been a lot more, and unfortunately it adds up to so little by the film’s end. Those who are familiar with Dillinger may be entertained and with Depp as the lead it would be a breeze. However, this is not a docudrama or a portrait about the life and times of Dillinger but rather an abstract impression that is not that satisfying. Folks who are looking for an intimate portrait may be disappointed. Visually, the film is impressive; gunfights are all cool and good. While this wasn’t a thrill ride full of compelling scenes, it is entertaining; although it is a little empty from a dramatic standpoint. It misses its potential as a thrilling crime drama but succeeds as a hero worship.
 

Recommended! [3 ½ Stars]