Public Enemies (Two-Disc Special Edition) DVD Review

It’s no secret that I think Michael Mann is the greatest director of all-time, dead or otherwise. One can throw all the Scorsese, Kurosawa, Ford, or Spielberg they want and I’ll still conclude that Mann is better than all of them. His style is unparalleled and has influenced my own approach to the way I make films. Maybe it’s how cool he makes everyone appear in his movies, or maybe it’s how no one does action better than him. Mr. Mann just has a touch to his films that really speaks to me. I’m awed by how well and how different he’ll shoot his material and how he builds his characters for the actors.  While not every one his films has been masterworks (Ali and The Keep come to mind) he rarely misses. Public Enemies, I’m proud to say, falls into the latter category.

Let’s address the look first which many have whined over since the first trailer has been released. Mann re-teamed with Dante Spinotti, the genius who helped him shoot Heat, for this picture and they used the new Sony F23 to film a good chunk of scenes. It looks nothing short of gorgeous and immerses the viewer in the 1933 era Mann so perfectly recreates. Had the picture been shot on film, the era would have been given a “glory days” type feel to it and that was never the intent of this story. Spinotti and Mann want to put the audience in the era, and shoot certain scenes as if one is next to Dillinger and company as they joyfully escape a prison or just had a successful score. Even better is a scene where Dillinger and Billie Frechette make love. Billie’s explanation of herself is inter-cut with the two engaged in intercourse to create cinematic beauty. The love-making is aggressively shot, in contrast to the stoic way Mann films the quieter moments of the scene. Perhaps though the best directed scene is Dillinger’s demise (which if you cry fowl over, do some research) and is nothing short of brilliant. Mann builds the scene by showing Dillinger watching Manhattan Melodrama and gives one the feeling Johnny thinks that’s him up on screen while Melvin Purvis and company wait patiently outside for him. It’s all subtle, yet pure magic as it unfolds to leave the viewer breathless.

Then of course, there’s the action and oh my, how amazing all of it is. By comparison, Michael Mann makes Michael Bay repeat every grade since pre-school. In fact, this is the most action packed of any of Mann’s films and he doesn’t fail. Where most directors blow their wad thirty, sometimes ten minutes into the film, the auteur that is Mann patiently builds up to an explosive shootout in Wisconsin that is arguably the best shootout since Mann’s own Heat. The action is placed wisely, moving the plot forward rather than slowing it down or happening just because it can. The opening prison break, as well as the other action pieces, all have a beginning, middle, and an end. But again, all the ones prior to the Wisconsin shootout don’t overshadow it and let it take center stage. Here is when Mann decides to go all out and deliver nothing but balls to the wall blitz and gunfire. What results is an edge of your seat sequence that blows the pants off of 99% of the summer blockbusters that claim to feature “dazzling action” or “superb effects”. Likely one will wish their theater handed out complimentary Tommy guns so they can fire back at the screen. The action in this film is just that terrific and is incredible and immersing the viewer into feeling like they’re there.

Every male’s dream was made a reality when Mann casted Christian Bale and Johnny Depp as the two leads and neither man disappoints. Let’s start with Johnny Depp who plays John Dillinger as reserved. True, Depp is known for being outlandish of his other roles but here he fits like a sequined glove. Like Vincent in Collateral, Depp’s Dillinger is cold and calculating but the epitome of slick and cool. The film obviously characterizes him as our protagonist, our hero, so you want to root for him. Mann has always excelled at making the villains the hero and here it’s no different. He shows Dillinger as an individual goes for the gold damning the consequences. Once faced with the consequences he finds a way out of it and it’s easy for Depp. Nothing comes off forced and not once does one wish for another actor to embody Dillinger. Much like Johnny himself, Depp has a presence that’s unparalleled. He commands the screen like few other actors have the ability to do and really feels at home here.

Complaints likely will be made about his relationship with Billie Frechette played by Oscar winner Marion Cotillard in that they lack chemistry. These people are wrong in every sense of the word. Their relationship isn’t in your face and much like everything else in the film is handled very subtly. Marion portrays Billie as someone who didn’t think much of herself and wasn’t headed anywhere until Dillinger came into her life. While it would have been nice to have another scene with them (and that’s one of the very few strikes against this film,) what we’re given is enough for one to form their own opinion on what their relationship was. Cotillard is fine as Billie, hitting the right notes and clicking just dandy with Depp’s Dillinger. They seem natural and not “in your face” or sappy.

The best performance though comes from Christian Bale as Melvin Purvis. He’s ten times better here than he was in Terminator Salvation and The Dark Knight. Purvis here, is the young hotshot who’s just making his way up the ladder. Instead of making jokes left and right, this iteration is unsure of himself and of the FBI. One of the best shots in the film comes during Purvis’ confrontation with Dillinger. “Do you think this’ll hold me?” Dillinger retorts or something to that effect and Purvis stops to give a very soft-spoken look of doubt. It’s a great counter to Depp’s confident Dillinger while making one sympathize for Purvis. He’s quite possibly the antagonist, but one that’s hard to root against. He wants Dillinger, like a kid wants a new toy on Christmas but he’s unsure if he’s going to get that shiny new bike. Bale is virtually flawless while never succumbing to what hindered his performances in his last few outings.

The supporters all lend a wonderful hand in making the film as great as it is, the standout being Stephen Lang who’s worked with Mann before. Also wonderful is Billy Crudup as J. Edgar Hoover, playing him as a tough yet subdued boss. The real star here though is Mann’s direction. Likely, it’s the best directed film of the year so far and should (hopefully) earn a golden boy come February. No shot is unwelcome and Mann proves once again why he’s one of the best at placing music in his pictures. He conducts his actors in his own way, and the result is sheer genius. One might complain about his shots being “too shaky” but it’s not overdone and is meant to feel like the audience is looking at it. Mann has always achieved that in each of his movies and here it’s no different. Where Miami Vice was watching a maestro at work, Public Enemies is watching said maestro paint another masterpiece.

Mann always sticks some themes into his pictures and personally, different people are going to take something different from all films, not just his. Public Enemies gives the sense that Dillinger lived the American Dream in his own way. He was a celebrity (again, something else the film should have touched on a little bit more) due to his Robin Hood nature and even he had a kick out of it. With Frechette and Dillinger’s relationship, it feels as if Billie is filling a void in her life. For Dillinger it’s just going through the motions yet the film leans more toward Dillinger having feelings for Frechette. Did he? Mann ultimately leaves it up the audience to decide.

Melvin Purvis is the embodiment of a traditional hero. He knows the old way isn’t working and wants to shake up things. He represents the law our world is used to, and not the one that would let gangsters and such get away. In some respects the hero’s journey could be applied to him as he doubts himself, then is told by his superiors Dillinger is going to be a tough act to catch. He perseveres through it all, much like Luke does during the original Star Wars films. One of the final shots of Purvis walking down a Chicago street as chaos errupts around him, dressed in white. It’s this imagery that speaks good will prevail no matter how cool or chic bad might be at the time.

In case the previous 1503 words weren’t enough, I loved Public Enemies and feel it’s one of the years best. It comes with a warning though as Michael Mann’s style of filmmaking doesn’t cater to the masses. Through and through, this is a Michael Mann film that’s unapologetic in it’s approach and execution. Public Enemies demands one think on it and even watch it a second or third (or likey to be in my case six-hundredth) time to fully appreciate it. It’s not a film that one can easily come out of and proclaim “IT’S SO AWERESOME!” and needs time to chew on. Public Enemies isn’t for everyone, but for those it’s catered to, they’ll have witnessed a master who’s added another masterpiece to his repertoire.

9 out of 10

The Video

Presented in it’s original aspect ratio of 2.40:1, Public Enemies looks fine, considering Mann shot on HD. Unfortunately, when this occurs the picture is always going to look better in an HD format, with flaws usually noticeable in standard. Much of this is intentional as Mann does indeed like to have noise and grain in his pictures, as well as the documentary style he’s adapted over the last couple of years. It’s a fine transfer regardless, with no real issues to speak of.

8 out of 10

The Audio

Dolby Digital 5.1 Surround is what we get here, and like all of Mann’s movies, this sounds just as spectacular. Bullets whiz by your head as Elliot Goldenthal’s score engulfs one into the time period. Dialogue also comes in crystal clear and features no noticeable problems to these ears. It’s a worthy track, which should be expected from Maestro Mann.

9 out of 10

Packaging and Extras

Public Enemies comes housed in a standard DVD case with a slipsleeve cover. A digital copy of the film is also included on disc two.

Things are kicked off with the Maestro (yes, that’s my nickname for Mr. Mann) giving a very terrific commentary track. Mann has never done a bad track and this one piece is no different. It’s amazing how much more of an appreciation one has for his pictures after listening to his commentaries. The track is informative and a great discussion on how Mann viewed Dillinger, production, and how he trusts his actors to do their thing. This is one of the best tracks of the year and deserves a listen.

“Larger than Life: Adversaries” runs for around ten minutes and has Mann, Bale, Depp and author Bryan Burrough discussing the research and performances of the leading characters. There are some decent facts to be found in here, and the piece is better than the typical EPK fluff.

“Michael Mann: Making Public Enemies” goes on for twenty minutes and focuses on Mann’s approach to the film, characters, and actors as we hear from a host of cast and crew. It’s a solid piece that goes into depth about the research behind the bank robberies in the film, and offers some other decent insights about the Maestro not present on the commentary. Worth a watch. Definitely.

“Last of the Legendary Outlaws” clocks in close to nine minutes and is the most ‘EPK’ like of the features. It has Mann, Bale, Depp, Cotillard, and others going through a mini-biography on John Dillinger. There are some nice notes here, but this is more used to draw interest in the film. Still, it’s nice to have on this set.

“On Dillinger’s Trail: The Real Locations” goes for nine minutes and features the Maestro and other major players talking about the manhunt for Dillinger as we go from location to location. It’s decent, if a little overlapping in terms of the information present.

“Criminal Technology” also runs nine minutes and again has the Maestro and others talking about the 1930s crime fighting technology in addition to the bank robbery techniques used at the time. It mainly focuses on how much of an advantage the criminals had while offering up some decent information.

Overall, the commentary stands out here but the features are more than enough to excite fans of the film. None feel like they’re lacking and provide great, solid information on the film.

9 out of 10

Overall

Michael Mann continues to remain one of, if not number one on my favorite filmmakers list. Public Enemies is something of a return to form for him after the polarizing Miami Vice. His take on Dillinger offers up terrific performances, flawless direction, and some of the best action scenes of the year. It also doesn’t hurt that the film gets better with each viewing. This DVD offers up some solid audio and video, with equally as solid extras. For those who haven’t upgraded to Blu-ray yet, this is a very worthy purchase for a more than worth film.

DVD Overall Rating – 9 out of 10

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Author Bio: Philip Barrett is a budding director and purveyor of opinionated movie news and reviews. Follow him on Twitter.