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Public Enemies: Bye, Bye Blackbird
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Johnny Depp in Public Enemies
Michael Mann's Public Enemies is a somber and visually stunning depiction of one of America's most notorious gangsters, John Dillinger. His daring bank robberies and prison escapes made him a popular figure in society at a time of grave economic and bank failures during The Great Depression. Like Arthur Penn's Bonnie and Clyde, Public Enemies redepicts the new wave theme of the anti-hero and captures paralells to current headlines of economic crisises and bank failures. It also makes a statement on the nature of pop-culture phenomenon.
The casting in this film is huge and the performances superb with strong production values as one might expect in a Michael Mann film. The director is one of the best at detail and attention to cinematography, lighting and a musical score that perfectly blends with the serious tone of the film and the era. There is one scene in particular where Diana Krall performs as a torch singer singing Bye, Bye Blackbird. This is the moment where Dillinger (Johnny Depp) meets Billie Frechette (Marion Cotillard) for the first time. It is effective in showing a human side to the criminal and the woman who falls for him. There are other famous gangsters who make J. Edger Hoover's Most Wanted List, including Pretty Boy Floyd (Channing Tatum) and baby Face Nelson (Stephen Graham). Each performance is restrained and intensely violent, without being over the top.
But Depp's performance of Dillinger stands out in its charisma and utter confidence, which Billie and much of the general public find so attractive and captivating. He lives fully in the moment, feeling almost immortal, always one step ahead of the Federal Agents who are out to bring him down. But without a specific or planned future, it is also too clear that he will not have one, that his dangerous life of crime will be short-lived. His is a fascinating character and Depp's gritty performance reminds you of why he is such a fine actor, almost making you forget his other comedic and often eccentric characters in films like Pirates of the Carribean, Edward Scissorhands and Benny and June.
The story itself is also a commentary on the cult of celebrity and popularity that Dillinger achieves and is all too aware of. The newsmen cannot get enough of his criminal exploits where he out-foxes the government and they eagerly pursue his pictures for their newspapers. Dillinger quickly becomes number one on Hoover's new Most Wanted criminals list. There are several scenes where Dillinger is watching Hollywood actors on the big screen. This reminds you that this was a bygone era and celebrities were bigger than life. Today, our celebrities can be the neighbor next door or anyone who wants to be a rock star, survivor, millionaire or cast on the Real World. Hoover, played by Billy Crudup, is also well aware of Dillinger's popularity stature that is making his bureau look bad. He too is looking to "brand" the FBI with hot-shot special agents or "G-Men." In doing so, he hires one Melvin Purvis, played by Christian Bale, making him the head of the agency solely devoted to bringing down the outlaw. Bale's character is very serious and focused as the feds become increasing desperate to capture and/or kill Dillinger once and for all. And to this end, under the premise of public safety, they blur the lines between ethical law enforcement and brutality - another theme that has been relevant today especially after 9/11.
Michael Mann is a master at creating mood and enthralling characters who are serious and violent and who also posses a romantic and noble edge at the same time. (Dillinger is fiercely loyal to his friends and has no interest in harming the common man. He steals only from the banks). But these days of independent gangsters are becoming short-lived as the syndicate continues to grow in far easier and modern white collar crime methods, such as betting and gambling on a day-to-day basis, through the phone system no less, with online bookies. Mann captures the complexities and conflicting dynamics of this period in American culture. Other noteworthy performances are offered by Channing Tatum, Stephen Dorff, Jason Clarke and Stephen Lange. There isn't a false beat to Public Enemies, a very entertaining film and new offering to the American Gangster genre of the early 1930's.
MPAA Rating: R
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