Public Enemies was a disappointment. Not complete and utter, but failing to live up to my expectations. Much of the critical feedback has been with his choice to utilize "digital High Def" cameras. Anyone that is a fan of Mann's knows of his predilection towards this format. One that he has boldly embraced years before his peers. Me being a fan, I had no issue with this choice. It's a crystal clear picture that reflects a picture more beautiful than life. His passion for the format, fused with sound perfection and chaotic action, masterfully choreographed is an art. In Enemies, he hits all the marks with precision. Where I believe he lacks is his story. Which is a shame considering the topic, and the epic characters. In Heat, Collateral, and The Last of the Mohicans he draws us into the story and projects an intimate portrayal of complex characters, and even more complex situations. I love all three of those movie passionately. I wanted to love this one more. Maybe my expectations were too high?
The movie was as star-studded as any of his other films. Christian Bale has become quite the sensation in the summer with his take on John Connor in the Terminator series, and of course as Bruce Wayne's alter ego. Marion Cotillard is fresh from an Oscar award winning year, and still novel enough to be compelling and void of any typecast. The supporting cast was strong, and looked the part. Especially, Stephen Graham as George "Baby Face" Nelson who lights up the screen with his iteration of the bombastic gangster. Then there was a little known actor by the name of Johnny Depp. I think he had a stint on a popular show in the 80's called 21 Jump Street. It was clear that Depp had put some thought into the character. None of this was moderately close to the presence he has as Captain Jack Sparrow in Pirate's of the Caribbean. Granted, he could take more dramatic/comedic liberty with a fictional character, but still disappointing when you know the mythology and history of John Dillinger.
Mann attempts to pit an under-qualified but determined agent Melvin Purvis against the cunning Dillinger. Bale's Purvis is so hardboiled and earnest in everything he does that it just seems stilted. He lacks personality and depth. He is David Caruso's Horatio Cane without the one line quips. It's hard to like the guy, even more to pull for him. The history of "anti-heroes" in film has been well documented but Dillinger is impulsive and free willed minus the fun. His romance with Cotillard's character Billie Frechette (Dillinger's real girlfriend) lacks spark. All of the primary players stories inevitably descend upon each other at a drawn out pace for some explosive battle sequences. When the last bullet is fired and the carnage is splattered and draped all over the elaborate sets it's hard to feel anything. It's a sterile, insipid sensation like driving to work on the scenic route.
Public Enemies doesn't stray too far from the story that Mann did so well in Heat. Robert De Niro and Al Pacino are hard to top but Bale and Depp didn't even come close. In both films there is an influential antagonist who has a power over his men and the respect of both sides. The protagonist is daring, and skilled but overmatched by the "villain". (Heat spoiler) De Niro's bad-guy is so well drawn and then acted that it is morally unsettling when he dies at the end of the film. When Dillinger takes that last breath of destiny, it's far less impactful and it should've been. This is where I believe Mann, although still a hero of mine, may have been overmatched with his grandiose reverence to the action of the era. He seems to have overlooked the humanity of the characters and their relationships. 'Enemies wasn't far off from reading a hard-news story on the front of the newspaper. If you don't know the people involved it rarely affects you. This was Public Enemies.
I'm wondering if Mann left out a lot of the dialogue to speed up his 2hour plus film? I for one, would be curious to watch a director's cut. On bluray of course. Those of you that aren't Mann fans might want to save this one for the eternal tomorrow. I'll get back to you on the director's cut.
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