Hot on the heels of reported friction between Michael Mann and Johnny Depp on the set of “Public Enemies” comes our conveniently timed script review:
This summer, amongst the flash and dash of kids films like “Transformers” and “G.I. Joe,” there’s some meaty adult counterprogramming. Thank you, Michael Mann, for populating the marketplace with something for adults, for once- “Public Enemies” is set for a July release date, a crime yarn not unlike Mann’s previous work featuring intrepid special agent Melvin Purvis on the pursuit of notorious bank robber John Dillinger. The Playlist has gotten their hands on the script, and we’re glad to say it sings.
The Set-Up:
“Public Enemies” begins with macho professionals engaging in macho activities. A prison break segues into a stirring action sequence, a cops and robbers shootout that introduces you to each character quickly. There’s Pierpoint (David Wenham), the impulsive gunman, Makley (Christian Stole), the steady, experienced con, Van Meter (Stephen Dorff), a lightfooted type described as an “unemotional killer”, and finally the slick moviestar of the crew, Dillinger (Johnny Depp).
Early on, its established that Dillinger views himself as a principled “man of the people,” and his inherent charm, smooth one-liners and good looks lead those who encounter him to melt, as evidenced by a family who he encounters that become smitten with his diplomatic and genuine sincerity.
The script gets into the flipside of this glamour with a look at square-jawed Purvis (Christian Bale) making his way through the forest, taking down Pretty Boy Floyd (Channing Tatum- a cameo mostly) and earning placement in J. Edgar Hoover’s (Billy Crudup) new anti-Dillinger strike team. While Dillinger is flashy and does appear to love his wife, who he rushes home to, Purvis is a dedicated, insular lawman with no sense of humor or flair. [ed. Hm…sounds nothing like a Christian Bale character…]
J. Edgar Hoover Is An Opportunistic Dick:
Hoover is an interesting player in this entire mess, as he is portrayed as a man trying to make a name for himself. On one level, he’s principled, sick of the law enforcement and mass media that have given Dillinger a free pass and he thinks the bank robber has made a mockery of the establishment. On another level, his method is a scorched-earth one, and he clearly has the political hierarchy in mind, to the point where he strongly disgusts those around him. He blows smoke up Purvis’ ass because he knows that moralistic law officer’s strike force is free of corruption, but eventually he shows his face as an opportunist of questionable legality.
Everybody Cool It, This Is A Robbery!
After laying low, Dillinger and pals rob a bank, a great sequence with a little bit of Hollywood and a little grit- they’re seasoned pros, their bank robbing execution is flawlessly orchestrated. They’ve got it down to a clock-work science. Mann will likely have some incredible fun with these sequences. Dillinger is so loved by the common man, his team is constantly given shelter. He does everything he can not to hurt bystanders and the innocent in robberies and in one scene tells a farmer to take back his personal cash, “we’re only here for the bank’s money,” he says rather dubiously.
Dillinger absconds with a few female hostages in a scene reminiscent of the Gene Wilder moment in “Bonnie And Clyde.” Dillinger then sits down with Alvin Karpis (Giovanni Ribisi), a point man who plans Dillinger’s heists and wants to let him know there is no real escape from his life. It’s a meaty role for Ribisi, who gets to be world-weary and dead-serious, and it might spell a sort of comeback for him (and man, it’s loooong overdue, he’s fantastic and undervalued). Karpis can’t seem to keep Dillinger’s attention, however, because he’s distracted by vixen Billie Frechette (Marion Cotillard), a lovely lass at a club that Dillinger is immediately transfixed with.
Just A Fool In Love: “The Good Guy”
After a crime spree that extends over the nation, with Dillinger gaining notoriety, fame and the titular, “Public Enemy #1” moniker, it becomes evident that the romance goes on to become the spine of the film. We see Purvis’ boys move in on Dillinger as he continues this ill-fated love affair, all the while allegiances are twisted between the principled lawman and the daredevil criminal. Dillinger is a lot like Mann’s villains, but most closely resembles Robert DeNiro’s Neil McCauley in “Heat,” a longtime pro who has lost track of exctly how much time he has left. All the while, Dillinger has seemingly placed his hopes for redemption in Billie’s hands, obliviously trapping her in a life of crime.
The Humorless “Bad Guy”
Purvis is a classic Mann character- yet another law enforcement agent who plays it close to the vest, who is afraid letting his emotions get in the way will interfere with his work, but is unsure whether his case load has overpowered his hopes for a simple life. The drawback here is these Purivs notes are subtle and we barely get to know anything about the staunch character (Bale). It’s clearly a character piece for Depp to shine.
On a Negative Note: this could be seen as a pastiche of Michael Mann motifs and cliches, but on the other hand, how is that a bad thing? The story doesn’t get too bogged down in the historical elements, but always gives you that context along the way, and while its beefy (134 pages), the script gives many opportunities for Mann to showcase his handle on mood and atmosphere- in the quiet moments of his films, you really can get into the heads of his protagonists with a well-picked song cue or a certain camera angle.
Conclusion: Most importantly, it reads and breathes like a straightforward bit of bigscreen entertainment- the characters are well-defined by the script and instantly evocative, the action sequences zip past with an admirable economy (Mann might be able to get a PG-13 on this). Its’ suspenseful and well-paced, with a familiar but effective ending that will leave audiences buzzing. Judging by how the movie schedules work- spring being a dumping ground for midbudget offal- “Public Enemies” has a chance to be the first great studio film of 2009. It hits theaters July 1.
Casting note: While the script is replete with names, doing a compare and contrast with the script and who plays who on IMDB; it appears like the namebrand actors are a lot of glorified cameos, Lili Taylor, Leelee Sobieski, Carey Mulligan don’t have large roles, Channing Tatum is in the movie for one scene and lesser-known actors like Rory Cochrane, Jason Clarke, Phil D’Andrea, Christian Stolte and Michael Vieau all have sizable parts. What we’re saying is, expect a lot of character actors mixed-up in this thing too as is wont to do for Mann.
Test screening reviews so far have been mixed, but as usual, reports are premature. We have a ton of faith in this script.