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.
Packed with too much goodness and determined to push its platform of paranormal events A Rumor of Angels is an overwrought drama about friendship grief and the spiritual rebirth of a boy and his eccentric recluse neighbor. Twelve-year-old James Neubauer his father Nathan and his stepmother Mary are spending their summer vacation in the small seaside town where the boy's mother died years earlier in a car accident near a local bridge. Because James has been traumatized by her death he has problems connecting with his often absent father and new mother. When James wanders onto the property of eccentric elderly neighbor Maddy Bennett who lives in a decrepit shingled house overlooking the ocean she scares the boy by firing a rifle in his direction. After a showdown with the Neubauers Maddy succeeds in hiring James to rebuild and paint her fence. An unlikely friendship ensues when James becomes a kind of surrogate son to Maddy who lost her own son in the Vietnam War and the stern but caring Maddy becomes mother surrogate the boy so desperately needs. Maddy also beset by grief teaches James about the power of remembrance and imagination and the possibility of angels and communicating with those long gone. James also learns about the importance of family love friendship and spiritual awakening.
Vanessa Redgrave is terrific as usual as the eccentric recluse Maddy giving yet another powerful performance that dazzles delights and soars beyond the limitations of the character as written. Trevor Morgan is fine if not memorable as James. Catherine McCormack as the stepmother Ron Livingston as a slacker uncle and veteran actor George Coe as Maddy's oldest friend also turn in serviceable performances. Only Ray Liotta so memorable in edgier meatier roles like those in Something Wild and Goodfellas or the more recent Hannibal and Blow is out of his element as a frustrated often absent dad. In fact most of the actors are chewed up by the gorgeous evocative Nova Scotia locales that brilliantly stand in for the Maine village.
Director Peter O'Fallon's biggest obstacle in A Rumor of Angels appears to be his own screenplay which he co-wrote and adapted from the very old inspirational novel Thy Son Liveth. Most filmgoers won't get beyond the film's pile-up of hokum about communication with the dead. Also the horror and mystery elements that A Rumor of Angels plants early on dissipate into a cinematic sermon about familiar family values and faith. The messages may be poignant but the drama sending them isn't. O'Fallon relies instead on lovely cinematography scenes suggestive of paranormal reality (those lights those angels) and a soundtrack rich in classical music--all at the expense of delivering a credible story with flesh and blood characters who actually sound like they just might be real New Englanders. His direction is style over substance scenery over psychological truths.