A return to form for Mann that signals the future for period films

Rating: 9/10 (1 July 2009)

I have read a number of comments that are critical of Mann and Spinotti's use of HD photography in the film but I believe it is ideal when one considers Mann and his overall 'agenda' as a filmmaker. Watching films such as 'Theif', 'Manhunter' and 'Heat' it is clear Mann is a director who strives for authenticity and for realism and by using video rather than film he can achieve this:
'...the DV made it feel like you were right there in 1933. You could reach out and touch that drop of rain on the black enamel paint of that car. That's what I wanted. I wasn't interested in nostalgia. I wanted the immediacy, you know, 11:17pm on a Tuesday night in 1934.'(interview with Mann, Sunday times) This quote essentially sums up Mann and the film itself. Unlike other depression era films such as 'Road to Perdition' where beautiful film stock adds to a nostalgic and romantic view of the time, Mann's film, with its frankly astonishing cinematography, brings an immediacy and authenticity to the era that I have personally never witnessed.
In typical Mann fashion, exposition is hardly present. Like all of his films, Mann drops the audience immediately into the action almost as the characters have already begun their journeys and time is metaphorically and literally running out. This notion of time and being dropped into action without exposition is typical of Mann. In 'Thief' the film begins with an extreme close-up of Frank (James Caan) breaking into a safe and he is already a professional thief with years of experience. In 'Heat' the films begins as a heist is set in motion with no explanation as to why and who is carrying it out. Essentially, Mann is documenting criminals and as audiences we are being given just a slice of things they have been doing for years. It is in this slice that we witness these characters as time runs out for them.
'Public Enemies' is a bold piece of art from one of America's finest living auteurs. The cinematography, action sequences and music are superb. Depp as Dillinger is wonderful, a memorable performance and the finest I have ever seen him deliver. The only weak aspect of the film is Christian Bale's performance, which is somewhat average. This does not and cannot detract from the one of the great crime films of this decade. The film is a return to form for Mann, certainly his best since 'The Insider' and with its unique juxtoposition of HD video and period piece it signals the future for period films.