Aesthetic rendition of a true story though well short of being Great

Rating: 7/10 (19 July 2009)

The 1930s was the era of the Great Depression in America when one man chose to thwart the authorities by robbing banks consistently in the most audacious fashion. John Dillinger was an outlaw romanticized as a folk hero for his contempt for authority but that hardly seems as enough reason for him to achieve the celebrity status of his days. Melving Purvis (Christian Bale) is on the Dillinger hunt with a capable force that he would rather not lose to unscientific methods of crime investigation. With this, Michael Mann, who gave us 'Miami Vice' and 'Heat', attempts to depict the crime saga of the 1930 era in a stylish fashion but falls short of making it a superior crime drama.
The movie starts with Dillinger breaking some of his friends out of prison in one of the better sequences of the movie. Soon, after robbing banks in an inglorious and rapid fashion (unklike Mann's 'The Insider'), Johnny falls in love with Billie Frechette after a bold and straight-forward encounter at a posh restaurant. We have seen love stories in a crime drama involving gangsters and one cannot help but recollect those moments from 'Scarface' or even 'American Gangster' but Dillinger and Billie's relationship lacks the connect that can engage you in the diversion from all the robberies and shootouts. Dillinger is a rebel with a cause in a depression-hit America but the reasons for it are unknown and that makes the viewer dispassionate towards his character's importance. The same goes with Melvin Purvis who is initially seen shooting a most wanted criminal in an orchard but his iconic status as the good man in the story is under toned and under performed. Purvis is constantly challenged while being a straight arrow cop who is simply upholding the law with a special team and being outwitted by the Public Enemy #1.
The only character insight we really see is Dillinger's refusal to abandon friends, colleagues and loved ones to the extent that it brings his own fall. John Dillinger's character, at least in Mann's direction, lacks the cool factor of a cold blooded villain like Tony Montana in 'Scarface' ("say hello to my little friend")or Frank Lucas in 'American Gangster' (as he shoots a rival on the street outside the diner) or Robert De Niro in 'The Untouchables' (murdering his associate during a meeting) . Well, if not the villainy, he even lacks the wittiness and suave of Frank Abagnale in 'Catch me if you Can'. The character of Dillinger is so loosely crafted that even after Johnny Depp's best attempt, he only manages to keep you in the theater for the 2 ½ hour duration with mixed interest. The film rides on his shoulders and he manages to carry only his role but not the entire movie.
The film's cinematography is impressive and renders the vintage look of the 30s. More of the look has been focused upon than the 'feel' of the movie and that perhaps is its downfall. On the other hand, unlike the other crime and gangster movies mentioned earlier, 'Public Enemies' fails to take sides. One isn't totally convinced by the ways of either John Dillinger or Melvin Purvis and the ambivalence makes it harder to engage oneself with characters and the conclusions that the movie draws. Christian Bale's performance of a loosely drawn character is at best – unremarkable while Johnny Depp gets a few one-liners and charisma that make him look bigger than the character written for him. One will remember 'Public Enemies' for Johnny Depp if at all but not in the same manner as one would remember 'Pirates of the Caribbean' for Captain Jack Sparrow.
The film fails to highlight some essential aspects of the movie that may have aroused greater engagement from the viewer. These include the heroic status of John Dillinger in a depression-hit economy of America, his reason to choose the path he chose, Melvin Purvis' background or character insight and the rise of the FBI after failed attempts of local judiciaries to fight crime due to geographic limitations.
However, there are some highlights in 'Public Enemies' that cannot be ignored. The opening scene of the prison-break is brilliantly directed in an almost choreographed manner, the cabin shoot-out is violently breath-taking with exemplary high def camera work and the inevitable conclusion of the film's 'villian' is caught in some brilliant cinematography as well. In the end, it is these few moments and Johnny Depp's coolness that manage to leave an impact but they sadly are not enough to make Public Enemies a brilliant film or a remarkable depiction of a true story about John Dillinger.

7.010 on a scale of 1-10.