By Malice Intended

Real life may be stranger than fiction, but modern audiences rarely find reality as entertaining as myth. From a cinematic standpoint, the myths and legends that often depict real life events can be more compelling than the real story. This creates a dilemma for biopics and docudramas. They need the right balance of fantasy and realism. But a movie based on real events is expected to stick relatively close to the facts. It can’t veer too far off in one direction or the other.

“Public Enemies” is adapted from Bryan Burroughs non fiction book of the same name. The F.B.I is struggling to stop a wave of brazen bank robberies that plague the Midwest. F.B.I Director J. Edgar Hoover (Billy Crudup) appoints Agent Melvin Pervis (Christian Bale) to track down and stop the perpetrators.

The film’s primary focus is on John Dillinger himself. The robberies staged by Dillinger and his crew have a two pronged effect of humiliating the FBI while simultaneously turning Dillinger into a celebrity. Agent Pervis, under great pressure from the power hungry Hoover, becomes relentless in his pursuit of Dillinger, often resorting to tactics that oppose his moral code. Along the way, Dillinger becomes infatuated with Billie Frechette (Marion Cotillard) and a love affair develops between them. Frechette loves Dillinger but fears becoming a casualty of the F.B.I’s war against him. Dillinger assures her that a bad end does not await him.

Michael Mann is a natural fit for this material. He specializes in modern day crime epics, but employs an approach that is markedly different. His films feature characterizations that are more layered, themes that are more thoroughly explored and pacing that is more deliberate than is usual for films of this type. His films are about men who engage in violent acts as opposed to simply putting the violent acts on display. He manages to tell thrilling stories about criminals without glorifying them.

The action sequences in a Michael Mann film tend to have a cathartic feeling due to the deliberate pacing and they usually arrive when the audience is looking for a release. “Public Enemies” has an ample amount of bank heists and shoot outs scattered throughout its two hour plus running time. It contains so many that the scenes become routine, which makes perfect sense. John Dillinger was a bank robber by trade. The real thrill though, came from frustrating the authorities on his tail and appeasing his “public”.

Michael Mann’s approach to gunplay remains thoroughly fascinating. It stands in stark contrast to that of his contemporaries, who often mistake disorganized mayhem for excitement. Mann doesn’t rely on stunt choreography, CGI or quick cuts to maintain his thrills. The camera remains at ground level and provides us with a variety of angles and shots. He allows us to understand things from a tactical, organized perspective.

Johnny Depp’s performance is one of quiet charisma and understated confidence. He approaches Dillinger as a man who is well aware of his celebrity status and doesn’t want to do anything to alienate his “fans”. Gunning down a cop who stands in his way is acceptable to him, but he is careful not to harm the bank tellers whom he temporarily takes prisoner in order to escape. He is the classic “charming rogue,” but Depp’s reserved performance helps to make this aspect of his character believable.

Melvin Pervis is another addition to Christian Bale’s collection of grim and intensely focused protagonists. He appears to be a consummate professional. But his integrity is dismantled by his need to both appease his superiors and protect the image of the department, leaving a personal vendetta in its wake. Thus, Bales penchant for seemingly one note characters is an asset here. Pervis is a man who is consumed by his work. We never get any sense of his life outside his job. Dillinger, by contrast, seems much more human.

As Dillinger’s girlfriend, Marion Cotillard adds a bit of complexity to the part of Billie Frechette. She is taken with Dillinger, but never seems to really believe in him. She knows that this will not end well, that Dillinger’s arrogance will be his undoing. Yet, she goes along with him anyway.

Also interesting are the contrasts that are drawn between the criminals and authorities. Dillinger is never more violent than he has to be. The agents on his tale, except Pervis, come across as brutal and oafish. In order to achieve their goals they employ a variety of methods that range from denial of medical treatment for suspects to outright torture. This is obviously a sly and direct commentary on similar tactics used by the Bush administration in the ongoing war on terror. This is an interesting spin on the old “cops and criminals are two sides of the same coin” cliché. If both sides use violence and intimidation to achieve their goals, the only thing that separates them is the badge.

“Public Enemies” is a polished, well crafted crime film. Both refreshingly old-fashioned and strikingly modern in it’s approach. It doesn’t provide the immediate gratification and flamboyant thrills that are usually associated with modern action pictures. It’s in no rush to get to its destination, and finds time to build character and tension along the way.

Out of 5

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