Public Enemies: Special Edition

Only in America could a ruthless, egomaniacal bank robber evolve into a folk hero, and only someone as savvy as John Dillinger could pull off such a slick and tricky transformation. Both in life and death, the original Public Enemy #1 commanded attention and even gained the admiration of a segment of society distraught over its dismal prospects during the Great Depression and eager to see the greedy banks receive their comeuppance. The scruffy Dillinger gleefully stuck it to those smug financial institutions while thumbing his nose at a disorganized police force that continually let the outlaw slip through its fingers. Though he may not have died in a blaze of glory like some of his marauding cohorts, Dillinger's death by ambush outside Chicago's Biograph Theater one muggy summer evening in 1934 after a showing of the eerily prescient Clark Gable flick, 'Manhattan Melodrama,' possessed a striking cinematic quality that only enhanced his notoriety and legend. And so, less than a dozen years after his bug-eyed face slammed against the sidewalk, Dillinger became fodder for movie studios eager to fuel the rabidly popular gangster genre. Over the years, his story has been told in no less than eight films, with actors as varied as Lawrence Tierney, Ralph Meeker, Warren Oates, Robert Conrad, Mark Harmon, and Martin Sheen portraying the brooding fugitive. Myth and truth often blur together in these biopics, none of which can be termed definitive.

Enter director Michael Mann (Heat, Collateral, Miami Vice), whose rigorous attention to detail and precision prompted many to surmise that 'Public Enemies' just might be the ultimate Dillinger picture. Mann (who co-wrote the screenplay with Ronan Bennett and Ann Biderman) also shuffles historical events for dramatic purposes, but the license he takes is hardly egregious. Though 'Public Enemies' isn't perfect -– someone needs to teach Mann, along with Peter Jackson, the finer points of editing –- the film does get under Dillinger's skin better than its predecessors, and that's really the point of this solid, often riveting work. Part character portrait, part homage to such classic Warner Brothers gangster sagas as 'The Roaring Twenties' and 'White Heat,' the film celebrates the glamorous, nomadic, and fatalistic criminal lifestyle, as well as Dillinger's hunger for and masterful manipulation of the spotlight, his limitless ego, intense desire for true love, and, most of all, his audacious nature. No doubt about it, the guy had balls, and without them, there would be no legend and no movie.

'Public Enemies' is not just the story of Dillinger (Johnny Depp); it's also a snapshot of a pivotal period in American history, when both crime and law enforcement became more organized and influential. Along with such colorful figures as Baby Face Nelson (Stephen Graham) and Pretty Boy Floyd (Channing Tatum), Dillinger was the last of a (literally) dying breed of high profile, independent felons, and as such, his tale possesses a poetic, romantic quality that transcends his violent deeds. He meets Billie Frechette (Marion Cotillard) in a Chicago nightclub, and the two begin a passionate affair distinguished as much by devotion as love. Dillinger's obsession with Billie is eclipsed only by the fanaticism of officer Melvin Purvis (Christian Bale), who heads up the fledgling FBI Chicago unit and is tasked by the up-and-coming J. Edgar Hoover (Billy Crudup) with capturing the brazen bandit. Purvis, an even stiffer version of Eliot Ness, doggedly tracks Dillinger across numerous states, but the clever criminal keeps escaping his grasp and leaving a trail of bodies in his wake. The Feds look like fools and Dillinger basks in the glow of the fawning media until the strong arm of the law infiltrates his ranks.

I've now seen 'Public Enemies' twice, and it definitely plays better the second time around when one can savor the film's pervasive nuances and subtleties, and zero in on the exceptional work of Depp and Cotillard. Both are raw, explosive actors who underplay to perfection, and their incendiary physical and emotional chemistry often propels 'Public Enemies' to great heights. Depp especially captures Dillinger's essence, deftly juggling a cocky, devil-may-care attitude with the fatigue and uncertainty of living constantly on the run. It's no wonder Bale seems boring by comparison. Saddled with a thankless good-guy, square-jawed role, the actor gamely impersonates the bland, tough Purvis who's learned to suppress his emotions, focus unwaveringly on his job, and take the heat for any screw-ups on his watch. Unfortunately, he's never able to release any of the pent-up tension inside, which traps Bale in a one-note performance and may explain why Purvis himself committed suicide a quarter-century after Dillinger's death.

Known for his arresting visual style, Mann makes the most of the movie's rich historical and period palette. Impeccable production values at times lend 'Public Enemies' a sumptuous feel, even when the characters are shuffling around dingy apartments and rural locales. The director also devises some thrilling shootouts, including a humdinger in the Wisconsin woods near the climax. But despite a number of action sequences – prison breaks, bank robberies, car chases – 'Public Enemies' isn't really an "action" film, and I think that's where it might disappoint some of its audience. Far more cerebral than the trailer or ad campaign would lead one to believe, the picture, like some of the jalopies on screen, revs up in fits and starts, and occasionally stalls in between. Mann, who hasn't made an under-two-hour movie since 'The Last of the Mohicans' in 1992, takes his time developing the story and characters, and sometimes struggles to maintain momentum. And for those expecting a rip-roaring rollercoaster ride, such deliberate pacing may prove difficult to take.

Yet even though we know how the Dillinger story ends, Mann fashions a taut, mesmerizing climactic sequence, using scenes from 'Manhattan Melodrama' to punctuate the doomed outlaw's predicament. We know what awaits Dillinger outside the theater doors, and we wonder if deep down maybe he does, too. This is where Mann really excels, combining style, emotion, and tension, and building upon them until they erupt into action. It's very classy filmmaking, and even if 'Public Enemies' doesn't always scale the high bar we set for it, it's a cut above most Hollywood fare and a worthy effort from a meticulous craftsman.

When done properly, period movies on Blu-ray exude a warmth and lushness that's unparalleled in the format, and though the 'Public Enemies' transfer isn't perfect, the 1080p/VC-1 encode possesses plenty of sublime scenes that showcase the beauty of high definition. The racetrack sequence, shot in the waning daylight hours, bathes the screen in a striking iridescent glow, while the vibrant splashes of color in the nightclub interiors recall the sumptuous Technicolor films of yore. All the while, a faint veneer of grain enhances the bygone look, and only becomes distractingly heavy during a number of low-lit, nocturnal scenes late in the film.

Mann shot 'Public Enemies' using HD cameras, which explains the hyper-crisp look, but the film often retains the texture and feel of celluloid. Contrast and clarity remain spot-on throughout the movie's duration, and marvelous close-ups reveal every pore, scar, and hair follicle on the actors' faces. Fabrics and small background elements are also well defined, and fleshtones always appear natural. Verdant greens add a welcome soft touch to the violent rural scenes, and blacks are so rich and inky, they almost swallow fine details. As a result, shadow delineation could be a bit clearer, but it's hardly a deal-breaker. I did notice an odd yellow blotch on a single frame around the one-hour-seven-minute mark that seemed to be some kind of print anomaly, but that's the only blemish on the otherwise spotless source material.

A bit of edge sharpening could be detected when I viewed portions of the film on my LCD display, but my primary DLP set almost completely muted the effect. Other digital enhancements and defects are completely absent. This is a terrific presentation from Universal that really makes the story of Dillinger leap off the screen.

From the get-go, the DTS-HD Master Audio 5.1 track outputs a powerful mix that adds incredible immediacy and impact to this popcorn gangster flick. From the chain gang stomping in the dirt to prison doors slamming, bass frequencies are almost constantly in play, either subtly enhancing quiet moments or busting forth with unbridled force. Gunfire in this movie isn't just snappy and directional, it's downright explosive; so much so, on more than one occasion it made me jump, like a killer emerging from the shadows in a slasher film. The shootout in the woods late in the picture sets the amp on fire, with vigorous bursts of artillery blasting from each speaker. Dynamic range is exceptional, and despite all the varied activity, distortion is never an issue.

Ambient effects may not have been as distinct as I would have liked, but the track still enjoys a good deal of surround presence, and front channel separation is flat-out superb, especially during the various period songs that play intermittently throughout 'Public Enemies.' The music of Otis Taylor, Billie Holiday, and Gene Autry enjoys excellent fidelity and depth of tone, and beautifully fills the soundscape, as does Elliot Goldenthal's score. For the most part, dialogue is clear and comprehendible, but conversation levels should have been punched up a notch. Depp and Bale mumble quite a bit, and it's occasionally difficult to make out what they're saying, and tinkering too much with the volume can be a dicey proposition when you're not quite sure when the next gun blast will hit. That's a minor quibble, though, and only detracts a tad from this superior aural effort.

A muscular supplemental package adds heft to this bold film, and the extras are both stylishly presented and packed with interesting content. And best of all, they're all in HD.

• Director's Commentary – Michael Mann offers up a thoughtful, informative commentary that's long on analysis and short on production trivia. He goes into great depth about Dillinger's character and society's influence upon it, and discusses the impact of the Depression on both the film's outlaws and the country at large. Mann also provides background on Billie Frechette, and explains how he draws the audience into the period timeframe. He touches upon some of the challenges he faced while shooting, but the commentary more closely resembles a history or sociology lecture than a casual monologue, and as such, over the course of the picture, Mann's remarks can become a bit dry. But those who appreciate fine filmmaking and the Dillinger story will be rewarded if they hang in.
  
• Featurette: "Larger Than Life: Adversaries" (HD, 10 minutes) – This flashy, brisk featurette explores the background of Dillinger and Purvis, and analyzes their respective characters. Mann, Depp, Bale, and Purvis' son chime in with their thoughts, and discuss how the actors prepared for their roles. Vintage newsreel footage of both men enhances the piece, and strikingly mirrors a couple of scenes in the film.
  
• Featurette: "Michael Mann: Making 'Public Enemies'" (HD, 20 minutes) – Another slick, well-made featurette, this behind-the-scenes chronicle examines the period's historical context and social climate, Mann's meticulous nature and keen eye, the use of authentic locations, and the character of Billie Frechette. Cotillard joins the dialogue, along with other cast and crew, and plenty of on-set and rehearsal footage gives us an inside look at how this production came together.
  
• Featurette: "Last of the Legendary Outlaws" (HD, 9 minutes) – Mann calls Dillinger "the best version of Butch Cassidy and the Sundance Kid" in this absorbing portrait of the famous bank robber and folk hero. The piece also looks at Dillinger's gang, his paramilitary methodology, and employs some great newsreel footage and archival photos to add dimension to the Dillinger personality.
  
• Featurette: "On Dillinger's Trail: The Real Locations" (HD, 10 minutes) – Making 1934 come alive was no easy task for Mann, but this featurette explains how shooting at the actual sites where Dillinger tread added immeasurable texture and impact to the film. Both Depp and Bale appreciate the immediacy and infusion of energy such locations provide, and technical personnel discuss how the exterior of the Biograph Theater and surrounding streetscape were refashioned to resemble a Depression-era look.
  
• Featurette: "Criminal Technology" (HD, 10 minutes) – Before Dillinger's time, law enforcement "was not far removed from the Keystone Cops," and this piece looks at how the FBI, which was once an obscure arm of the Justice Department, came into its own as a crime-fighting machine under the direction of J. Edgar Hoover. Gun training and the antique cars used in the movie (especially the Ford V8, which Dillinger called "the perfect getaway car") are also explored in this interesting featurette.
  
• Theatrical Trailer (HD) – In addition to a promo for Universal Blu-ray, there's a preview for 'Inglourious Basterds.'
  
• Digital Copy – A second disc facilitates the transfer of 'Public Enemies' to portable devices via iTunes or Windows Media Player.
  

'Public Enemies' may not meet everyone's expectations, but it's a well-crafted, absorbing, wonderfully acted, and often exciting gangster film with plenty of style and substance. Terrific video and a powerful audio mix make the experience even more immersive, and a fine supplemental package enhances our knowledge of and connection to the legendary figures depicted on screen. This one's got some replay value, so fans of the genre and those who appreciate quality moviemaking shouldn't hesitate to pick it up. Recommended.