Public Enemies - Review

Director: Michael Mann
Written by: Mann/Bennett/Biderman
Starring: Johnny Depp
Runtime: 2 hours 23 minutes

If you put people in fedoras, they are legends.

Think about your average bank robber from today. Some stick up guy at a gas station or a liquor store. When you see the security camera footage on the nightly news, all stick up guys look like bums. Eventually they get caught and put in prison and you find out - if you find out - that their life story is the ho-hum stuff of juvenile delinquency: raised poor, stole some cars, busted for assault a few times, and finally nabbed knocking over a five and dime. None of them are hailed as heroes. More often than not, they're described as scum bags and losers.

That isn't the way bank robbers were back in the day. Or at least that's not the way Hollywood and our minds project them. Back in the time of fedoras and Thompsons, they had great names: Pretty Boy Floyd, Baby Face Nelson, Machine Gun Kelly. John Dillinger isn't remembered by a nickname because he didn't need one. How can you have a better nickname than Public Enemy #1?

Why did I just write that? How can you have a better nickname than Public Enemy #1?

It's funny how we look at robbery when it has the sepia tint of memory. Armed robbery in black and white looks so cool, so interesting, so fun, so glorious. Who wouldn't want to be a bank robber in the 1930s? And now that I think about it, it works both ways: back then, FBI agents were "G-Men." Now they're "Feds." How boring.

These were some of my thoughts while watching Public Enemies, a slightly wonky title given that the movie revolves around one Public Enemy. Though Pretty Boy Floyd and Baby Face Nelson make an appearance, the movie centers on Dillinger. He's played by an always good Johnny Depp, who looks perfect for the role.

The movie takes some liberties with history. Doesn't matter much. If you're looking to films to give a history lesson, then you are setting yourself up for disappointment. Truth might be stranger than fiction, but truth can be a bitch when you're making a movie. So tack a "based on" credit to the opening and let fly.

This is a Michael Mann movie from the word go. He still likes to go handheld most of the time, and there's plenty of extreme over-the-shoulder camera angles. Guns blaze and sound like guns, and when people get shot they are punched full of holes. The Thompson submachine gun is a co-star of this movie, and when it goes off there's a muzzle flash five feet long. (Halfway through the movie, watch as one character gets blasted; the way he goes down will remind you of DeNiro's character's demise in Heat, another Mann film).


This movie isn't all cops and robbers. It tries for some kind of humanity, which could have been fatal. Dillinger is not the savvy, fearless man we've come to dream about. Depp plays him as tough and slick in the early going, but as the pressure mounts and his friends are gunned down, he begins to get paranoid and frightened.

That's normal. That's how life works: pressure grinds down the toughest of us. But showing this can kill a movie about a tough guy and turn it into melodrama. This movie doesn't do that because the script doesn't allow a long winded soliloquy about "getting out of the life," and Depp doesn't become a caricature of robber-with-a-conscience.

I don't know how Mann does it, but he always makes a movie that's either pretty good or very good. Public Enemies is just all right, but it's Michael Mann's just all right. Which means you'll enjoy it even if it is uneven and sometimes a yawn. (Miami Vice was terrible. Terrible. But it was shot by Michael Mann, so for some reason I quite liked it. Weird, I know. The man just makes things look like you want to enjoy them).

Public Enemies won't win any prizes, but it won't waste your time, either. See it.

Movie Poster: Yahoo Movies