This is the story of the last few years of the notorious bank robber John Dillinger. He loved what he did and could imagine little else that would make him happier. Living openly in 1930s Chicago, he had the run of the city with little fear of reprisals from the authorities. It’s there that he meets Billie Frechette with whom he falls deeply in love. In parallel we meet Melvin Purvis, the FBI agent who would eventually track Dillinger down. The FBI was is in its early days and Director J. Edgar Hoover was keen to promote the clean cut image that so dominated the organization through his lifetime. Purvis realizes that if he is going to get Dillinger, he will have to use street tactics and imports appropriate men with police training. Dillinger is eventually betrayed by an acquaintance who tells the authorities just where to find him on a given night. –IMDb
Michael Kenneth Mann (born February 5, 1943) is an American film director, screenwriter, and producer. For his work, he has received nominations from international organizations and juries, including those at the British Academy of Film and Television Arts, Cannes and the Academy of Motion Picture Arts and Sciences. He has produced the Academy Awards ceremony twice, first in 1999 with the 72nd annual Academy Awards and second in 2004 with the 77th annual ceremony.
Mann was born in Chicago of Jewish heritage, the son of grocers Esther and Jack Mann. His father was a Ukraine immigrant and World War II veteran and his mother came from a family native to Chicago. Mann was close to his father and his paternal grandfather. He grew up in the Humboldt Park neighborhood and immersed himself in the burgeoning Chicago blues-music scene as a teenager.
He studied English at the University of Wisconsin-Madison, where he was an active member of the Pi Lambda Phi fraternity, and developed… read more
Likely considered the director's weakest character piece, as the dialogue here feels almost like an afterthought. It's an additive for the sake of accessibility though, as Mann speaks through his imagery, his ambient music, his oppressive darkness and flashes of light. Subtle glances and gentle movements lend character in his world, not words. While the beautifully underplayed interactions in "Miami Vice" were far more powerful, "Public Enemies" succeeds admirably by the same means.
Highlight of the movie for me is Stephen Graham as Baby Face Nelson, that man is a goddamn chameleon.
An ultra-stylish (although perhaps too digital at times) take on the gangster film with performances that aren't rooted in cliché or homage and cinematography that borders on documentary realism. The beautiful bursts of gunfire and highly detailed set pieces are just two reasons to revisit this film. Additionally, the soundtrack was well-suited and the climax was woeful and surprising.
An exploration of the increasing visual emphasis on the ear in Michael Mann’s work.
Processed pixels from my mouth to yours.
Three critics discuss Michael Mann’s most recent digital criminal cinema extravaganza.
What is the 21st Century? is the column where Ignatiy Vishnevetsky tries to find an answer to the titular question. *** Above: Alden Ehrenreich
A circle of New York film lovers gather for an impromptu discussion of Michael Mann’s Miami Vice (2006).
Where does this film fall within the chronology of gangsterdom, American style? Somewhere in between this week's much-anticipated Public Enemies
Above: Michael Mann (second from the right) and crew members working on Public Enemies. Photo by Rob Olewinski. I spent a few days in the
Above: The Biograph Theater in 1934 and as it appeared when re-decorated in 2008 for the production of Public Enemies. I spent a few days
Above: Stand-ins help rehearse a scene from Public Enemies. Photo by Rob Olewinski. I spent a few days in the summer of 2008 on the set of
Filmmakers Of The Week: Mohsen Mahkmalbaf and Marjane Satrapi. Neither has a current film to promote. The Harmlessly Frivolous Reason To Join
Is it me, or did this movie just kinda disappear REAL quick? It feels like this came out YEARS ago when in fact its barely been 2 years since its release. How is that possible? ‘Public Enemies’ shoulda… read review
It really is a great throwback to 30s Gangster films and at the same time a very different take on the genre. While I wasn’t crazy about the fact that it switches from film to video, that’s really… read review
When the trailer for Public Enemies premiered in early 09, one could be excused for thinking that this was going to be a slam bang action movie. But considering this is Michael Mann, who perhaps pulled… read review