I agree with MK in the use of the v modern digital style. Mann has a great eye for the action setpiece, but for instance in PE the big scene at the country hotel was lost in a camera style that made the event almost TVish. He needed to look at something like LA Confidential to get the idea for the presentation. For all this negativity, I did actually enjoy it, especially the opening prison break, which set the tone quite well, even if eventually the style overawed the narrative.
By the way, Miami Vice has more about it than it appears and deserves a rethinking from some of the commentators listed here. My own personal opinions on the film are that Cotillard is too good for what was a supporting role. She's got too much power on that screen and it distorts everything. On the Style of the film I personally think that at times the camera is too close to the action and it makes it difficult to know what is going on and indeed made me feel almost seasick.
When you really come to love a film critic, you really start to set your expectations of their work very high. And when they endorse something like Star Trek, the disappointment can be heart breaking : Okay, that's the lst time I'll mention it since it's out of the top 10 now : I might go and watch this one actually Dear Mark, I feel that your comments regarding Public Enemies' cinematography miss the point somewhat.
Michael Mann has said repeatedly in interviews that he did extensive tests comparing digital and film acquisition formats and that the digital format suited the story A LOT better. What it does, quite wonderfully in my opinion, is knock down our assumptions about what a 'period film' is and give the film a very palpable immediacy. This is conventional storytelling, given an eye-popping news-journalism feel.
The digital medium is just one of the tools in Mann's arsenal and it is clear to me that what he is doing is systematically breaking down the 'rules' of period drama. It's also worth reminding everyone that this is hardly the first major period motion picture to employ the digital medium. None of these films really look 'digital' proving that it's not really about format, it's what you do with the format, i.
Michael Mann's 'video feel' in Public Enemies is very deliberate and clearly a real artistic decision. For me, this has made the film far more interesting to look at, and what I really want is not only a story which is compelling and well told but also visually new and exciting. Either way Mark, I think you are being very simplistic and dismissive of what this film's look is really about. This film is an example of a director and cinematographer showcasing genuine technically-immersed film artistry and for my money, they've really really pulled it off!
Best Geoff. Talking about 'anachronism' and 'period drama', what always bugs me about period dramas is that everything is made to look like it is of the period to the point of being anal. I suppose it is not improbable that G-Men and flashy gangsters would sport the latest fashions etc. I realize the set designers and costume people all want to get their awards but maybe we could try for a bit more realism because the look that we end up with is not so much authentic but rather, fake.
As far as the medium and format of the film is concerned, it really didn't seem out of place and was much less significant than the content of the film or lack of it. Not sure why everyone is using "Untouchables" as the benchmark to compare this with as that was about bootleggers and criminals like Capone who could operate in the open, whereas "Bonnie and Clyde" was also about bank robbers on the lam. Untouchables is mainly told from the side of the law men and Bonnie and Clyde is told mainly from the viewpoint of the outlaws whereas Public Enemies uses both vantage points as you might expect.
The pram scene in "Untouchables" was an homage to "Battleship Potempkin" so it can not be anything else than contrived. Does that mean directors should never make reference or homage to other films? Couldn't agree more with Mark.
What a shame! I was expecting so much from this movie.. Sadly I was massively disappointed. Shooting the film in HD didn't really help. In fact it made it look cheap as opposed to "more real".
The script was pretty flat too I ended up not caring about anyone really, no, not even Johnny Depp! Not to mention all the other secondary characters who I kept on confusing with one another.
I'm still trying to work out who actually died during those messy shoot-outs. Michael Mann has always been up there in my list of favourite directors also because he's one of the few good ones who went to the same film school I did Absolutely blown away by it. People, you really should check it out - if you haven't already. I think it knocks spots off the pretty good, pretty neat Manhunter and has aged far better than the latter 80s production.
As for Public Enemies, I've given it a second trial. A superb cast and crew like this is well worth repeating. Far more comfortable with it now. I like it; it's certainly one of the best offerings of ; but for Michael Mann and the talent involved, it should have been a lot better.
Though I haven't seen the film yet the I'm guessing the look you're describing - and disliking - is more likely down to art direction and final colour grading than whether it's been shot digital or 35mm I loved it, I thought the digital photography really brought a clean and clarified vision of the time, it separated this film from all of the easy comparisons in the genre from white heat to the godfather. Ultimately, for me, it let the film play on its own terms. A late post, but; I would love to see a Michael Mann directed Batman film!
Personally, if Nolan did decide to negate a follow up to Dark Knight, Mann should complete this franchise run! This entry is now closed for comments. This twice-weekly video blog is the place where he airs his personal views on the things that most fire him up about cinema - and invites you to give your own opinions.
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Please consider upgrading your browser software or enabling style sheets CSS if you are able to do so. This page has been archived and is no longer updated. Find out more about page archiving. BBC - Mark Kermode's film blog. So after a summer of horrible giant robots it's fantastic news that Michael Mann, the genius auteur behind Manhunter, The Insider, and Heat is back with a new movie, the story of John Dillinger, the most famous bank robber in American history.
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Some excellent performances from Daniel Mays and Anna Friel but Eddie's fuse so so short would he not be returned to prison much earlier than he was later episode? I understand why the garden centre was used as a location - but we never saw a customer in half a dozen visits there. How did it stay in business? Of course, had there been any customers they would have been frightened away by all the shouting. Niggles apart, more first class drama from the BBC. Wonderfull performance from both actors but especially from Daniel Mays!
I'd love to buy this series on DVD! Friel interesting enough. But Marchant script always worth following. Shame about the denouement. Too soft by half. Does anybody know who the composer was for Public Enemies or what the piece of music over the closing credits is called?
Absolutely need find that music used for the closing credits!!!!!
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