Movie Review : Public Enemies

The narrative of Public Enemies can be summed up by the rousing yet haunting score that compliments the dramatic tension in the movie. Slow at first, slowly building up to a rousing crescendo that signifies the climax, the movie too follows the same pattern to provide a haunting portrayal of one of America’s most feared criminals of the Depression Era, John Dillinger. Set during the Great Depression, it focuses on the true story of FBI agent Melvin Purvis’s attempt to stop criminals John Dillinger, Baby Face Nelson, and Pretty Boy Floyd. It’s a story about Melvin Purvis’s ruthless pursuit of Public Enemy no. 1 John Dillinger, that ultimately leads to his violent demise, but that forms more of a background narrative as compared to the larger canvas portraying the man behind the mask of John Dillinger.

The narrative is layered and structured to provide a tiered act. Veteran Michael Mann takes the reins to guides this ship on a glorious yet gloomy voyage. His handling of the story and narrative shows deft skills and craftsmanship that is both sharp and crisp. However, some of the scenes do look self-indulgent. They could have been excused to give a better pace to the proceedings. Yet in retrospect it does fit into the bigger picture. It’s almost like a character study by Mann. He runs amok in the action scenes and paces the narrative to give a sense of urgency when it comes to Purvis’s pursuit of Dillinger, yet when it comes to the man himself – Dillinger, it’s almost as if Mann pauses to take note of the character and understand his motives and psyche. He films his character in gloriously heightened close-ups to portray the emotion, the tension and lingers on his face and eyes. When you see the close-up scenes you almost feel like the characters are right next to you and start feeling for them. Mann chose to film this period piece in HD, a decision that has had a love-hate relation with the audience this far. It worked for me. But I can totally understand why it would not work for others. The HD gives a documentary feel to the picture that sometimes feels distracting given that we are used to watching period pieces in film stock. But it worked for me as it only helped to heighten the tension in the scenes. Mann also stages what is one of the finest gunfight sequences to grace the big screen. Deft handling of the plot, and a flair for showmanship, Mann plays his cards well.

But Mann’s skills would have fallen flat had it not been for Johnny Depp who turns in one of the best performances of his career. He has a chameleon like quality to get into the skin of any character he plays and here it’s no exception. He makes John Dillinger his own. His performance as Dillinger is one of the finest of the year and if I am allowed to say it, Depp has probably booked his Oscar next year. Every frame he is in, he exudes charm and confidence. And with one of the most charismatic actors portraying an equally charismatic character on screen you get nothing but the best. His eyes, face express and emote the finest of emotions and nuances. For Depp it is tailor made role and he is perfectly cast as Dillinger. Christian Bale on the other hand gives a very subdued yet intense performance. It is only in the subtlety of his performance that you see the true nature of Purvis. Although I did feel that his role could have been explored a bit more but then again it’s more of a fault with the screenplay than with Bale’s portrayal. Marion Cotillard as Dillinger's girlfriend Billie Frechette is serviceable but forgettable. The other supporting cast members also give a fair amount of support. There are too many of them than I care to remember but they all do their job well.

In the end, Public Enemies remains a beautiful piece of art crafted with a labor and love that fills each of it’s frames. If I am allowed to say it, Public Enemies ranks in the same page as The Godfather, Untouchables and other crime classics, sadly only to find itself a few notches below those masterpieces.