I'm torn on this one. The cinematography was amazing at times, distracting at other times. Not distracting in a bad way, I and most I believe audiences are not used to seeing movies this way. This is 100% percent 21st century filmmaking, and it serve to educate filmmakers in the years and decades to come. Being a native Chicagoan, I already know the bulk of this story and tbh don't really find it that interesting
Mann is aware that films say more of the time in which they're made than the time in which they're set. Public Enemies is a g̶a̶n̶g̶s̶t̶e̶r̶ film electrified by a modern digital aesthetic to the point that it's not a costume drama, but a piece of humanity and our innate attachment to images/symbols of ourselves. It's action, romance, and death as expressions of the collective ideas we represent. Life is image.
The origins, developments, & purposes of the image. Life is a prison: Mann's initial thesis. But no concept is easily manageable here; counteraction abounds. Depp is Depp & Dillinger at all times. By the end, this amalgamation of man & image faces a supreme image-maker &, in a moment of absolute transcendence, fully grasps how an image relates to a society which requires forms. Figural cinema of the highest order.
Gangster Films 101: Guy does bad things, bad guy not so bad, bad guy falls for good woman, good woman makes bad guy become more humane and personable, good bad guy gets killed by bad good guys. Pathos. Gangster Films 130: Some good moments (read: gunfights), but Mann's digital camerawork detracts from character intimacy. Bale furrows his brow. Depp tries, Crudup succeeds. Audience looks bored despite body count.
Michael Mann made "Thief". And he made "Heat". He is a great director, familiar with the genre. Therefore, "Public Enemies" was a movie, I had high hopes for. However, it is a mess. Very much boring. How could that happen? Emptiness. I guess it lacks charisma, character, a dramatic element.
Dillinger's humanity under a microscope. Obliterating every preconceived notion about the gangster genre, blending determined aesthetic with sweeping romance. There's something to the gratuitous use of handheld; aggressively invading the space of the actor with such an urgency that we feel as if we're riding along the waves of tension. Epic and visceral. Mann isn't directing, he's painting with emotion and colour.
Il più loffio dei film di Mann è sempre un gran film perché il regista riesce a costruire, ancora una volta, una storia più grande della vicenda che mette in scena. Depp non sarà un grande attore ma riesce a infilare un po' di cuore nel suo personaggio, Bale ambiguo e durissimo.
Ho stentato a credere che fosse un film di Michael Mann. Piatto,meccanico,quasi scolastico,con alcune scene d'azione(suo marchio di fabbrica) che sembrano girate da un regista agli esordi.Non riesce a coinvolgere minimamente,forse anche a causa di un Johnny Deep inadeguato più che mai.A mio avviso l'unica cosa salvabile è il carisma che Bane mette nelle sue entrate in scena. Heat o The Insider sono lontanissimi.
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.