The dulling of Dillinger
Public Enemies
Running time: 140 minutes
MPAA rating: R (profanity, extreme violence, adult situations)
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I'm not "Public Enemies'" No. 1 fan.
I wanted to be. But even with Johnny Depp in the lead role as Great Depression-era "gentleman bandit' John Dillinger -- in fact, especially with Depp out front -- "Public Enemies" is a very long yawner of a gangster movie dressed in blood and guts.
For the life of me, I can't figure out how director/co-writer Michael Mann turned one of this country's most compelling, explosive and folklore-ridden tales into nap fodder.
Depp, a three-time best actor Oscar nominee, is known for completely immersing himself into his roles. I mean, come on. The enormously talented actor has dissolved into a pirate (Jack Sparrow) based on a theme park ride character three times now. He can't get excited enough to really explore a legendary figure like Dillinger?
For whatever reason, Depp glances off Dillinger's persona without really digging under the famed bank robber's skin.
Even though I generally abhor re-imagined movies, Dillinger's brief, bloody and often-gentlemanly bank robbing spree of the mid-1930s seemed ripe for a redo.
I am a fan of John Milius's "Dillinger" with the late Warren Oates in the title role. But that gangster yarn hit screens in 1973, more than 35 years ago.
Certainly with today's unlimited special effects, an explosive story and some really good actors, Mann should be able to keep us riveted to the edge of our seats.
The filmmaker ("The Insider") has given fans some solid crime-thrillers in his past. "Collateral" splattered the screen with decent acting and action. And Mann is the guy who put Robert De Niro and Al Pacino across a table from each other for some A-list actor steam with "Heat" in 1995.
That old screen magic just never gets rolling in "Public Enemies." And that's despite some impressive acting pedigree. Christian Bale, who's been very busy as The Caped Crusader in "The Dark Knight" and as John Connor in this summer's "Terminator Salvation," puts on a clinic in stoic poses as FBI agent Melvin Purvis.
French actress Marion Cotillard, an Academy Award winner for her flawless portrayal of legendary French songbird Edith Piaf in "La Vie en Rose," puts a welcome edgy spin on Billie Frechette, Dillinger's true love crime moll.
Unlike in "Dillinger," though, Mann fails to provide character depth via the screenplay he co-wrote with Ronan Bennett and Ann Biderman or visually, except in brief spurts. For whatever reason, Mann chooses to portray Dillinger right-hand man Homer Van Meter (played by Stephen Dorff of "World Trade Center") without Van Meter's well-documented trait of clowning around.
That's another reason I couldn't keep from thinking about "Dillinger" while watching this technically adequate but otherwise pale incarnation. Harry Dean Stanton was funny, edgy and scary as Van Meter in the 1973 version.
Even signature Dillinger moments seem to come and go without emphasis or emotion. Depp's crooked smirk-smile when he rests his arm on the shoulder of a future prosecutor looks more like he's pondering what's for lunch.
Despite a great story to tell, "Public Enemies" just goes through the motions. I never thought I'd think of blazing tommy guns and "ho hum" so close together.
Let's put it this way. If this gangster thriller had been playing instead of "Manhattan Melodrama" at Chicago's Biograph Theater on that fateful night in 1934, John Dillinger might have just stayed home.
Hi Larry,
Ric and I saw Dillinger last night and you are right on in your observations! It was a YAWN!! My friend was planning to see it next week and I told her save your money! Too bad because we love Depp.
Today we are going to the Bijou to see Cheri. I haven't seen your review on that one but will let you know what we think.
It is so wonderful that you are here!
Regards,
Ric and Kathie Lingafelter
Posted by: Ric and Kathie Lingafelter | 07/04/2009 at 12:03 PM