“John Dillinger. I rob the banks.” That’s how upfront and honest it is when our protagonist introduces himself to his lady friend. And that is pretty much the attitude of this film in retelling the story of one of the most notorious and charismatic crime figures in American history.
Adapted from the novel of the same name, Public Enemies depicts the life of criminal John Dillinger (Johnny Depp). Throughout his short yet audacious journey, Dillinger made connections, robbed banks and toyed with the media to create a favourable image. And most importantly, he fell headover- heels for a coat-checking lady named Billie Frechette (Marion Cotillard) and was confronted by the equally methodical and dedicated Melvin Purvis (Christian Bale.) Their confrontation led to the eventual creation of the FBI.
Instead of being an actionpacked summer blockbuster, as the fi lm’s trailer implies, the fi lm is a thoroughly-researched and meticulously-executed biopic that does its best to restore Dillinger’s life, to the very last detail. From the silver accent on the dashboard of Purvis’ Jaguar, to Dillinger’s hint of desperation before his fi nal moments, to the look of every character, all on screen gets the utmost attention. Realism is also achieved from a cinematographical standpoint. High definition digital cameras were used to render the film with stunning clarity, with an unsaturated colour tone and with slightly shaky camera motion. Public Enemies is an art film shot with a documentary-like realism. This said, it still has edge-ofyour- seat moments.
Its shootouts are presented with an incredible visual fl air, the muzzle fl ashes tearing the night scenes. The weapons sound overwhelmingly powerful; the film’s sound is so detailed that the audience can almost feel the momentum of bullets bursting out of gun barrels.
All cast members act in a subtle and realistic fashion, typical in a Michael Mann film, albeit quite untraditional in the highly stylized gangster genre. Even minor roles such as Dillinger’s gang members and Purvis’ hardened colleagues ooze cruelty and professionalism, thanks to Mann’s research with actual bank robbers and police officers.
Bale, for one, did a great job portraying Purvis as he’s morally tormented by his decisions. Depp and Cotillard are certainly the highlight here. Depp as Dillinger is able to be charismatic, popular and manipulative while conveying the steel core and loneliness buried within.
Cotillard’s Frechette is nothing short of a magnetic screen presence. She’s an outsider, seemingly fragile, yet absolutely unyielding, even when being rigorously interrogated. The two have a great chemistry and are riveting when both onscreen. The film as a whole is an unusual summer fl ick: it is painstakingly realistic, intense yet grim and at certain points, is heartstoppingly beautiful and tragic. It is certainly a fi lm that demands the viewer’s full attention to be understood. But for those who truly appreciate an exquisite piece of cinematic work, this one is definitely a rare treat that shouldn’t be missed.