Michael Mann’s historical flick ‘Public Enemies’ (2009) follows the escapes, pursuits and captures of famous American outlaw, John Dillinger (played by Johnny Depp). Set in the midst of the Great Depression, the film’s gloomy cinematography and dazzling costume design is capturing from start to finish. Mann’s film, without doubt, is an improvement on his 2006 film adaptation of long-running television series ‘Miami Vice’. His latest instalment, however, is far from flawless, something that is inevitable with any retrospective observations of history, whether in film or written form.
To begin with, it needs to be said that some of Mann’s casting choices are questionable. Whilst Depp’s performance evokes laughter and pathos, I could not help but see through the director’s decisions for choosing him. To me, Mann summoning Depp to the role says that casting a marketable star is more important to him than choosing a correct actor to play the character. There is a slight sense of divorcement between the real and fictitious Dillinger, which is worrying. For instance, the only real physical similarities that link Depp with Dillinger are thinly crafted goatees, gangster apparel and facial scars. That’s about it, really. The former is a taller, modern-day sex symbol, whilst the latter was a shorter, mid-sized criminal with a cutting stare. An odd choice, to say the least. Even though it has become fashionable for filmmakers to employ Depp to play a variety of contrasting roles, I believe that Mann’s decision to use the star renders risky. Nevertheless, Depp’s performance is entertaining enough, even though he may not have been the best man for the job. Christian Bale (as Melvin Purvis) is hardened and intense. At times, Bale’s demeanour is so grave it could be mistaken for stiff acting. Though overall, the audience gets the drift: Purvis is a man under pressure and without pretensions. Billie Frechette (well played by Marion Cotillard) is a doomed woman from the beginning: her roots are strained, but so is her relationship with Dillinger. Cotillard’s broken beauty is mesmerising, particularly when she becomes the subject of violent investigation tactics, where she passionately refuses to rat out on her rogue lover, despite heavy-handed treatment. Dillinger’s ensemble of gangsters is also memorable. Stephen Graham (as Baby Face Nelson) is fantastic. The way he moodily wavers between violence and composure is impressive. Strong supporting performances, however, by David Wenham, Jason Clarke, Christina Stolte and Stephen Dorff are equally effective. Lili Taylor and Billy Crudup – whilst mildly brooding in comparison to Bale – embody the authorial uneasiness towards outlaws during the public enemy era.
There is still much to like about this film. The marriage of Dante Spinotti’s breathtaking cinematography and Mann’s hard-hitting direction helps to give birth to a film that is exciting, fast-paced and passionate, despite some issues with historical representation and casting.
(3.5/5)
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