Good but nowhere near the epic it could be

Rating: 7/10 (13 July 2009)

Michael Mann returns to the familiar territory of the American Crime drama to explore the life and times of John Dillinger, probably America's most famous bank robber and public enemy number 1. Mann models this as a conflict between the foundations of federal crime fighting and the burgeoning criminal network of the time. Representing the side of law and order is Christian Bale as Melvin Purvis, one the FBI's most famous agents, whilst Johnny Depp plays Dillinger. Shooting in digital Mann brings his usual expertise at accuracy, authenticity and lends an epic scale to the story as well as creating a number of thrilling action sequences particularly an elongated shoot out at a country lodge. The acting is generally high calibre and both leads are excellent and Depp is admirably restrained as Dillinger when compared with his more recent wilder roles. He portrays him as a serious bank robber who knows how to foster his own mythology, one scene where Dillinger is questioned by the press allows Depp to loosen his control and play with his audience. However Dillinger's relationship to the press and the public's reaction to Dillinger is one of a number of interesting topics that the film sheds little light on rendering the near two and a half hour running time a little frustrating.
Mann reduces this story to a battle between two men and adds layers of stereotype and cliché where none were needed. Dillinger's romance with Billie Frechette, a solid if unremarkable turn by Marion Cotillard, is given undue focus and portrayed as the traditional doomed romance between gangster and moll. Mann continues to hint at the more interesting aspects of the story, the way Hoover manipulated the pursuit of Dillinger to get press coverage and support for the FBI, the evolution of crime and crime fighting, the public reaction to the criminals of the era. In one scene near the end of the film Dillinger enters a betting racket run by the mob and witnesses the vast sums they are taking the film briefly touches on the idea that this was the end of an era for bank robbery but, again, goes nowhere with the idea. Similarly on the FBI's side there is continued reference to the transition of tactics to a recognisably modern crime fighting outfit but it is never fully explored despite the length of the film. Purvis witnesses escalating police brutality in their attempts to capture Dillinger and is clearly affected by it but little reference is made to the impact it had on the FBI and on police behaviour in America.
Ultimately Mann has the characters, era and time to create a true classic of American crime but clings too close to the well worn confines of the genre and ultimately the film could really be about anyone and set anywhere and have a near identical plot. That is not to say it's a bad film, it's enjoyable and watchable but Mann had the scope and actors to aim so much higher that it is hard not to be disappointed and a little frustrated with the end result.