These little intros are becoming increasingly more difficult to write. I picked today’s movie simply because I think it’s a marvellous piece of cinema. I bowed to public pressure somewhat in not placing it higher, as a great many people were disappointed with the final result. I think this had more to do with the expection of a gangster movie from this director rather than with the quality of the actual movie itself.
In at Number 17 it’s…
Based during the Great Depression, Public Enemies, focuses on the true story of the birth of the Federal Bureau of Investigation and the attempt by one of its agents, Melvin Purvis, to capture the notorious criminals John Dillinger, Baby Face Nelson, and Pretty Boy Floyd. As Dillinger’s exploits start to make him a folk hero, Purvis must deal with an ill-equipped group of agents and a boss keen on taking public glory. As Purvis’ net tightens Dillinger begins to find it increasing difficult to ply his trade and will the love of the beautiful Billy Frechette finally give him a reason to live.
Why it is worthy: Shot on glorious ultra-high definition video Public Enemies looks like nothing you’ve ever seen before, a beautiful immersive piece of art. There’s a skill here rarely seen, and attention to detail so resolute that director Michael Mann even insisted on shooting in the same room of the Little Bohemia lodge that Dillinger had stayed in. Every detail is perfect, from the authentic clothing to the rigorously researched locations, and Mann uses them to great a period movie that feels from that period. The sound is magnificent, a crystal clear clarity that draws the senses and wraps you in tight. The rat-a-tat-tat of the guns and the whizzes and pocks of bullets have never been so well captured. It’s obvious that Johnny Depp would look good as Dillinger, but the man slips effortlessly into the role, portraying both the perfectionist and showman in Dillingers character with great skill. Christian Bale is on fine form too as the cat in this cat-and-mouse chase, but the real hidden performance comes from Billy Crudup. His young J. Edgar Hoover is all passion and stubbornness, a firebrand absolutely certain of his own ability but aware of the potential threat to his newly fledged FBI that these criminals pose. The story itself, rewritten by Mann from Ronan Bennett’s screenplay, is a brutal and brilliant tale of men at war with themselves and others and the lengths they will go to survive.
Fatal flaws: This movie is based on true events and as such is a slave to some of them. This means that some time and momentum is lost in the transition between set-pieces and the movie lacks a sense of urgency. The movie also has an unsatisfactory sense of closure, throughout you know Dillinger is going to die, many even know how, so when it comes it’s kind of an anti-climax. Many will find the fact that the movie is not a religionist homage to the daring-do of gangsters but rather a portrayal of two man locked in a death struggle disappointing. This is not a movie which seeks to portray Dillinger as a hero, in fact, as the title suggests, often times both him and Bale’s Pervis seem anti-heroes, people at war with their situations and the world around them. The look and sound won’t be to everyone’s taste as some scenes, particularly the shoot-out at Little Bohemia Lodge are a visual and aural assault on the senses.
Verdict: This film is easily one of the best crime epics in years and worthy of standing beside Mann’s epic, Heat, on your DVD shelf.
Right - I’m watching this tonight. I’ve put it off long enough.
Gotta see this a.s.a.p then!
Good film. Drags a little though, and at parts it gets confusing as everyone seems to be wearing the same kind of suit. But overall, it’s definitely worthy of inclusion.