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.
Last we heard in last year’s Diary of a Mad Black Woman Madea (Tyler Perry) was solving social cultural and familial problems. What a busy lady! Well she’s done gone and done it again after a whole new crop of problems pop up that need fixing. This time the conflicts revolve primarily around two sisters Vanessa (Lisa Arrindell Anderson) and Lisa (Rochelle Aytes) both of whom are wary of their financial-minded mother Victoria (Lynn Whitfield). Vanessa is deathly afraid to love again after her husband left her and two kids and fears she might’ve met Mr. Right in the form of a bus driver (Boris Kodjoe). Meanwhile Lisa is in a physically abusive relationship with Carlos (Blair Underwood) “Atlanta’s most eligible bachelor ” but is afraid to leave him. Madea the antithesis of gold-digging Victoria solves these and many more problems as the family reunion nears. After Mad Black Woman’s surprise box office take last year bigger names were less reluctant to sign on. Accordingly the new actors in Reunion are very solid—borderline stellar collectively. The lone exception is Perry as Madea (as well as a few other characters) whose over-the-topness although expected reduces the air of professionalism from the rest. Underwood is so damn good at being so damn bad as the abusive fiancée Carlos while Whitfield matches him chill for chill in a very icy performance. The relative unknowns/newcomers are the most pleasant surprises however. Aytes has breathtaking beauty that would normally overshadow acting but not here. Anderson whose last film was ‘95’s Clockers is equally beautiful and evocative as a single mother torn. And for the female eyes there’s Kodjoe whom girls will likely fall for even more when they learn he can actually act. Perry wears many hats in Family Reunion: writer director producer star--and oh yeah he also wrote the popular stage production from which the film is adapted. Perhaps Perry’s workaholic attitude contributes to the film’s thematic overkill. There are a number of kinks in the film’s completely uneven story and the way it is told but perhaps the biggest problem stems from the fact that it still feels like a stage play. Sometimes that’s a plus for a film but it’s hard to think it was intended. This feeling is elicited by the sum of the story’s parts. Perry will be in one scene telling the tale of a beleaguered battered woman amid a linear and conventional storyline and in the next scene become Madea in her cartoonish and campy getup dishing out her tough love techniques. No doubt Reunion is an enjoyable play--only if you agree with Perry’s comedic remedies for serious issues.