WHAT IT’S ABOUT?
Based on the eponymous book by Bryan Burrough Public Enemies chronicles the exploits of legendary Chicago gangster John Dillinger a dashing figure whose daring bank robberies both captivated and alarmed a Depression-era America devastated by widespread financial ruin. Director Michael Mann (Ali The Insider) begins his narrative at Dillinger’s career high-point with the Indiana-born outlaw basking in his celebrity status as a Robin Hood figure.
But with Dillinger’s growing fame comes increased scrutiny from law enforcement agencies — particularly the Bureau of Investigation (the precursor to the FBI) and its ambitious chief J. Edgar Hoover. Eyeing Dillinger’s capture as an opportunity to boost his agency’s profile Hoover tasks elite agent Melvin Purvis with bringing the elusive gangster to justice.
WHO’S IN IT?
Toning down the often cartoonish mannerisms he exhibited in Sweeney Todd Charlie and the Chocolate Factory and the Pirates of the Caribbean trilogy Johnny Depp exudes low-key charm and self-assuredness as Dillinger a man clearly amused by his celebrity status but never consumed by it. Dillinger’s audacity and fearlessness extend beyond the criminal realm too as evidenced when he pursues a beguiling coat-check girl named Billie Frechette (Marion Cotillard). Initially appalled by Dillinger’s aggressive advances Frechette ultimately surrenders becoming his loyal companion during his final days on the run.
As lawman Melvin Purvis Dillinger’s primary antagonist Christian Bale provides a nice foil for Depp though he ultimately isn’t allowed enough screen time to fully develop his character. Bale’s Purvis is straight-laced intrepid and doggedly persistent his efforts continually stymied by the sub-par talent and resources at his disposal. His complicated relationship with highly eccentric Bureau boss Hoover (played by a gleefully uptight Billy Crudup) begs for more development but director Mann opts instead to focus more on the doomed love affair between Dillinger and Frechette. Pity.
Fans of Mann’s action work in films like Miami Vice and Heat will revel in Public Enemies’ elaborately staged shoot-out sequences each of which is lent added intensity by cinematographer Dante Spinotti’s use of high-definition digital video cameras.
But when the bullets aren’t flying Public Enemies is only intermittently interesting. Stars Depp and Bale both excel in their respective roles but neither is allowed much room to venture beyond the tight constraints imposed by Mann who clings stubbornly — and disappointingly — to type. Much more intriguing would have been for Mann to reverse the casting with Bale playing the anti-hero and Depp as his straight-arrow pursuer. Alas the director who convinced squeeky-clean Tom Cruise to play a villain (in 2004’s Collateral) was not so ballsy this time around.
The same cautious predictable approach to casting extends to the film’s tone as well. Rather than deconstruct our culture’s romanticized vision of Dillinger as a handsome populist hero Mann adds to the gangster’s puffed-up Robin Hood image photographing Depp lovingly at every turn and filling the story with unsubtle nods to the character’s altruistic side. It’s a missed opportunity.
Mann has never been one for brevity regularly churning out films that extend well beyond two hours in length. Public Enemies is no exception clocking in at nearly two-and-a-half hours. Despite the ample running time he’s allotted to flesh out his story Mann fails to create any real attachment to his characters. For a movie with such a gifted cast appealing subject matter and riveting action sequences Public Enemies is oddly boring.
A chaotic nighttime sequence in which Purvis and his crew ambush Dillinger’s forest hideout only to become mired in a protracted and bloody gunfight ranks with the very best of Mann’s action work. If only the rest of Public Enemies were this thrilling.
NETFLIX OR MULTIPLEX?
Spinotii’s superb camera work demands to be seen on the big screen so slam a few Red Bulls and catch this one at the multiplex.
January 11, 2002 11:05am EST
Shaun Brumder (Colin Hanks) is sitting on the beach pondering the mysteries of life after losing his surfing buddy to a tsunami when he finds a copy of Marcus Skinner's novel Straitjacket buried in the sand. The book by a mythical Kerouac-type author who teaches at Stanford University profoundly influences Shaun who in turn decides he will become a writer. But Shaun's dreams of attending Stanford and studying under the guidance of his new mentor get squashed when a scatterbrained guidance counselor sends the wrong transcripts to the university. With the help of his peace-loving girlfriend Ashley (Schuyler Fisk) and his junkie brother Lance (Jack Black) the trio sets off to Stanford to convince school officials to reconsider his application before the deadline the following day. After a series of catastrophes Shaun becomes convinced that his dysfunctional family is conspiring to keep him in Orange County.
Colin Hanks (Get Over It not to mention Tom Hank's son) is the film's protagonist Shaun Brumder. He and his on-screen sweetheart played by Schuyler Fisk (Snow Day not to mention Sissy Spacek's daughter) bring quality to a good script suffering from shaky direction. The two interact quite naturally and make a pretty sweet couple. Jack Black (Shallow Hal) is hysterical and not just when he is standing around half-naked and dirty. Some of the funniest scenes are when Black's character Lance tries to be serious and stoned at the same time. Catherine O'Hara (Best in Show) plays Shaun's boozy mother without going over the top and John Lithgow (Third Rock from the Sun) is equally convincing as his rich father now married to someone half his age. There are several notable cameo appearances from actors including Lily Tomlin Ben Stiller Kevin Kline and Chevy Chase but they do not bring anything unique to their performances.
Orange County is directed by Jake Kasdan (Zero Effect) who more recently directed episodes of teen TV series Freaks and Geeks Undeclared and Grosse Pointe--and it shows. While the script is hilarious and the acting above par the pacing is a bit uneven. The film jumps from really gross shots of Black prancing around in his skanky underpants to sentimentalized family issues that are a little too real to be funny. Then we are subject to scenes of Shaun's wheelchair-bound stepfather rolling out onto the street and getting hit by a car being the target of falling objects or crying out in pain because no one remembers to give him his medication. When did the blatant neglect of invalids become funny? Unfortunately these elements did not come together very well. Of course Kasdan does not resist the temptation of subjecting us to a dreaded college frat party scene involving flaky teenage girls and pompous college boys that with the help of Monica Keena (Undeclared) almost felt like a sitcom.