It's funny to think that 18 months ago barely anyone knew who Marion Cotillard was, I'm betting that given Nine and Inception coming out in the next year or so, she is quite possible going to become the biggest thing out of France since the Eiffel Tower.
Public Enemies
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I dont see what people think is so good about marion.
Bunker
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The fact that she's an Oscar-winning actress should be reason enough.I dont see what people think is so good about marion.
Laderlappen
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Let me guess. You havent seen anything of her and is basing your opinion on her on fame, amount of fans, and her lack of blockbuster/action movies. Im guessing looks too.I dont see what people think is so good about marion.
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REVIEW: Public Enemies (***1/2)
Posted by Kristopher Tapley · 4:00 pm · June 23rd, 2009
(Los Angeles Film Festival)
There is a moment very early in Michael Manns Public Enemies, featured today as the centerpiece exhibition of the Los Angeles Film Festival, when Depression-era criminal John Dillinger (Johnny Depp) stares into the dying eyes of friend and mentor Walter Dietrich (James Russo) as his band of cohorts flees the scene of a somewhat botched prison escape attempt. The sequence is at once curiously beautiful and unmistakably somber, of a piece with the filmmakers coldly calculated vision of a man caught up in the freedom of his rebellious lifestyle, yet haunted by the specter of his own obsolescence.
The film marks an exciting return to muscular, patient storytelling form for Mann. After dubious stabs at commercial appeal in Collateral and Miami Vice, films that certainly have followers and admittedly plumb thematic depths no other filmmaker would have reached, the director has painted his most resonant character study since 1995s Heat.
Headlined by an emotive, at times unsettlingly internalized performance by Depp, the film amplifies Manns penchant for nuance while marrying it with a well-exercised gift for staging unique if not inimitable action set pieces. But for all the directors classic cinematic accoutrement, the film nevertheless stands apart from Manns portfolio for its fully realized vision of a doomed romance highlighted by, rather than merely peripheral to, the machismo on display.
Depp is Dillinger, circa 1933. As The Depression holds the nation hostage, he is the best at what he does: robbing banks. He and his crew are too busy having fun today to think about tomorrow, as he puts it. Dillingers life is so streamlined that hes whittled the particulars of courtship down to a few direct yet expressive interactions that recall James Caans modern urban version from 1981s Thief, who implored of Tuesday Welds shrinking violet that they cut with the mini-moves and the ******** and get on with this big romance.
The object of Dillingers affection is Evelyn Billie Frechette (Marion Cotillard), a half-Native American, half-French coat check girl who stands out to the mobster amid the Chicago nightlife. The temptation to develop an outlaw relationship akin to Bonnie and Clyde or Badlands is eschewed in favor of presenting Frechette as an anchor of sorts, a reminder of the life Dillinger might have if he wasnt so good at what he does.
With the rise of organized crime, Dillinger was seen as bad for business. His interstate exploits led to federal laws that would eventually put the squeeze on Al Capone and Frank Nittis Chicago empire. Mann focuses on less than a year of Dillingers life for the bulk of his narrative, moving from the harrowing Michigan City prison break he helped mastermind from the outside in 1933 through the bank robbing spree that landed him in an escape-proof Crown Point, Indiana jail, on to his fateful trip to the movies on July 22, 1934 at Chicagos Biograph Theater. By that time, with both the government and mafia for enemies, Dillinger was all alone, the last man living for himself in an era more and more defined by what, and who, you owe.
A post-robbery showdown at the Little Bohemia Lodge in Manitowish Waters, Wisconsin serves as the films most gripping sequence. Dillinger, wounded from a sloppy job in partnership with the radical Baby Face Nelson (Stephen Graham), holds off a number of FBI agents as gunfire rips and pops through the films soundtrack, recalling the gritty realism of Heat more so than the stylized examples of Miami Vice. The eerie demise of one mobster in this sequence, his tommy gun splattering the earth, fire spitting from its muzzle, illuminating his face in sharp, terrifying bursts, reminds of Manns artistic attraction to the hyper-real.
Of course, Mann composites a number of elements for dramatic impact along the way, but his narrative is lean and purposeful, a perfectly composed stage for Depp to offer his finest performance to date.
Depp is incredibly restrained here, much like the film itself. He gives very little yet conveys a staggering sense of layering with every nuance; still waters seem to run quite deep with his Dillinger. Cotillard, meanwhile, doesnt offer a stereotypical suffering girlfriend take on Frechette, yet isnt overly creative with her choices, either. She nevertheless finds the right combination of frailty and strength that has defined the few well-developed female characters from Manns films.
Indeed, Public Enemies is perhaps the first Mann effort since The Last of the Mohicans to find feminine rhythms that have eluded the director for a great many years. He has made a career of burrowing into the psyches of men, women typically positioned as transitional figments of the narrative. But here, Mann paints Frechette with delicate strokes that mix a strong sense of loyalty and subtly justified rebellion with the required amount of delicacy that gives Cotillard an enviable opportunity.
The unexpected dead weight on the proceedings is Christian Bale, who, as FBI agent Melvin Purvis, brings nothing to an already underwritten role. Perhaps Mann was hesitant to cover similar terrain to Heat and overcompensated by sapping all of the intrigue out of Dillingers pursuer, but Bale unfortunately seems to be going through the motions rather than properly capitalizing on the opportunity to work with a master actors director such as this.
After proving his actorly chops early in his career, then becoming a star in the role of a rather subdued and morose character in Christopher Nolans Batman franchise, Bale seems to be sliding into an unexpected area of complacency in his work this year. His uninvolved deliveries here follow an equally confused outing in Terminator Salvation earlier in the summer.
As expected, all technical elements in the film serve as an extension of Manns unmistakable auteurism. His first collaboration with lenser Dante Spinotti in 10 years provides for more interesting composition than the increasingly experimental work Mann has sought behind the camera this decade. Design elements from production designer Nathan Crowley and costumer Colleen Atwood are impeccable yet refreshingly muted, while Kevin OConnells sound mix puts the viewer right inside the action.
Elliot Goldenthals score is typically sparse for a Mann collaboration but used effectively. There are moments, however brief, that remind of the soaring elegance Trevor Jones brought to the soundtrack of Mohicans.
Public Enemies fits rather seamlessly into a line of filmmaking Mann has generated to represent, as F.X. Feeney has called it, a profound, interactive, philosophical history of the United States. Collateral and Miami Vice served as stylistic, muscle-flexing diversions, but here the director seems even more thoughtful in his approach to character and structure. As with Ali, he doesnt succumb to the lures of the biopic. He tells a story, directly, and without qualification or ornamentation. The film is classic Mann.
____________________
Good news is Depp and Marion live up to their consistent performances. Mann seems to have found his groove...finally.
Bad news, is Bale seems to once again deliver a substandard character who is a cookie-cutter version of the same role he's been playing for the last 5 years. Someone needs to give this guy a reality check. I'm starting to think choosing Batman has undermined this guy's chops. Where the hell is the fearless and impressive actor that we saw in American Psycho?
Posted by Kristopher Tapley · 4:00 pm · June 23rd, 2009
(Los Angeles Film Festival)
There is a moment very early in Michael Manns Public Enemies, featured today as the centerpiece exhibition of the Los Angeles Film Festival, when Depression-era criminal John Dillinger (Johnny Depp) stares into the dying eyes of friend and mentor Walter Dietrich (James Russo) as his band of cohorts flees the scene of a somewhat botched prison escape attempt. The sequence is at once curiously beautiful and unmistakably somber, of a piece with the filmmakers coldly calculated vision of a man caught up in the freedom of his rebellious lifestyle, yet haunted by the specter of his own obsolescence.
The film marks an exciting return to muscular, patient storytelling form for Mann. After dubious stabs at commercial appeal in Collateral and Miami Vice, films that certainly have followers and admittedly plumb thematic depths no other filmmaker would have reached, the director has painted his most resonant character study since 1995s Heat.
Headlined by an emotive, at times unsettlingly internalized performance by Depp, the film amplifies Manns penchant for nuance while marrying it with a well-exercised gift for staging unique if not inimitable action set pieces. But for all the directors classic cinematic accoutrement, the film nevertheless stands apart from Manns portfolio for its fully realized vision of a doomed romance highlighted by, rather than merely peripheral to, the machismo on display.
Depp is Dillinger, circa 1933. As The Depression holds the nation hostage, he is the best at what he does: robbing banks. He and his crew are too busy having fun today to think about tomorrow, as he puts it. Dillingers life is so streamlined that hes whittled the particulars of courtship down to a few direct yet expressive interactions that recall James Caans modern urban version from 1981s Thief, who implored of Tuesday Welds shrinking violet that they cut with the mini-moves and the ******** and get on with this big romance.
The object of Dillingers affection is Evelyn Billie Frechette (Marion Cotillard), a half-Native American, half-French coat check girl who stands out to the mobster amid the Chicago nightlife. The temptation to develop an outlaw relationship akin to Bonnie and Clyde or Badlands is eschewed in favor of presenting Frechette as an anchor of sorts, a reminder of the life Dillinger might have if he wasnt so good at what he does.
With the rise of organized crime, Dillinger was seen as bad for business. His interstate exploits led to federal laws that would eventually put the squeeze on Al Capone and Frank Nittis Chicago empire. Mann focuses on less than a year of Dillingers life for the bulk of his narrative, moving from the harrowing Michigan City prison break he helped mastermind from the outside in 1933 through the bank robbing spree that landed him in an escape-proof Crown Point, Indiana jail, on to his fateful trip to the movies on July 22, 1934 at Chicagos Biograph Theater. By that time, with both the government and mafia for enemies, Dillinger was all alone, the last man living for himself in an era more and more defined by what, and who, you owe.
A post-robbery showdown at the Little Bohemia Lodge in Manitowish Waters, Wisconsin serves as the films most gripping sequence. Dillinger, wounded from a sloppy job in partnership with the radical Baby Face Nelson (Stephen Graham), holds off a number of FBI agents as gunfire rips and pops through the films soundtrack, recalling the gritty realism of Heat more so than the stylized examples of Miami Vice. The eerie demise of one mobster in this sequence, his tommy gun splattering the earth, fire spitting from its muzzle, illuminating his face in sharp, terrifying bursts, reminds of Manns artistic attraction to the hyper-real.
Of course, Mann composites a number of elements for dramatic impact along the way, but his narrative is lean and purposeful, a perfectly composed stage for Depp to offer his finest performance to date.
Depp is incredibly restrained here, much like the film itself. He gives very little yet conveys a staggering sense of layering with every nuance; still waters seem to run quite deep with his Dillinger. Cotillard, meanwhile, doesnt offer a stereotypical suffering girlfriend take on Frechette, yet isnt overly creative with her choices, either. She nevertheless finds the right combination of frailty and strength that has defined the few well-developed female characters from Manns films.
Indeed, Public Enemies is perhaps the first Mann effort since The Last of the Mohicans to find feminine rhythms that have eluded the director for a great many years. He has made a career of burrowing into the psyches of men, women typically positioned as transitional figments of the narrative. But here, Mann paints Frechette with delicate strokes that mix a strong sense of loyalty and subtly justified rebellion with the required amount of delicacy that gives Cotillard an enviable opportunity.
The unexpected dead weight on the proceedings is Christian Bale, who, as FBI agent Melvin Purvis, brings nothing to an already underwritten role. Perhaps Mann was hesitant to cover similar terrain to Heat and overcompensated by sapping all of the intrigue out of Dillingers pursuer, but Bale unfortunately seems to be going through the motions rather than properly capitalizing on the opportunity to work with a master actors director such as this.
After proving his actorly chops early in his career, then becoming a star in the role of a rather subdued and morose character in Christopher Nolans Batman franchise, Bale seems to be sliding into an unexpected area of complacency in his work this year. His uninvolved deliveries here follow an equally confused outing in Terminator Salvation earlier in the summer.
As expected, all technical elements in the film serve as an extension of Manns unmistakable auteurism. His first collaboration with lenser Dante Spinotti in 10 years provides for more interesting composition than the increasingly experimental work Mann has sought behind the camera this decade. Design elements from production designer Nathan Crowley and costumer Colleen Atwood are impeccable yet refreshingly muted, while Kevin OConnells sound mix puts the viewer right inside the action.
Elliot Goldenthals score is typically sparse for a Mann collaboration but used effectively. There are moments, however brief, that remind of the soaring elegance Trevor Jones brought to the soundtrack of Mohicans.
Public Enemies fits rather seamlessly into a line of filmmaking Mann has generated to represent, as F.X. Feeney has called it, a profound, interactive, philosophical history of the United States. Collateral and Miami Vice served as stylistic, muscle-flexing diversions, but here the director seems even more thoughtful in his approach to character and structure. As with Ali, he doesnt succumb to the lures of the biopic. He tells a story, directly, and without qualification or ornamentation. The film is classic Mann.
____________________
Good news is Depp and Marion live up to their consistent performances. Mann seems to have found his groove...finally.
Bad news, is Bale seems to once again deliver a substandard character who is a cookie-cutter version of the same role he's been playing for the last 5 years. Someone needs to give this guy a reality check. I'm starting to think choosing Batman has undermined this guy's chops. Where the hell is the fearless and impressive actor that we saw in American Psycho?
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I hate to say this, but...I agree. Before he was cast as Batman, he was one of my absolute favorite actors. Now, while I still enjoy his movies, I'm mostly bored with his performances. He's just not taking the creative chances he used to (even though I still think he's perfect as Batman). I'm not sure what to blame this on, really, but I think I agree with Drew McWeeny's theory (from his positive PE review, which is now up at Hitfix) - Bale just isn't a "movie star." A tremendous actor, and certainly one of the most intense out there, but not someone who can carry movies made for broad audiences and bring to life thin characters based on charm/charisma alone. I dunno, I still love him, but Hollywood's typecasting of him is taking him in the wrong direction as an actor, imo (and of course, he's the one choosing to go in said direction as well).
You might if you were more familiar with her work.
ETA: Well, this surprises me. Rex Reed actually loved it!
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Watson
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The Bale stuff is disapointing. He could just be worn out. The guy was filming this and T4 last year, plus dealing with the Bale Rant fall out and all the drama with his family. I think he could also mix up the roles a little. He's been doing a lot of action star stuff as of late.
Bond
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Well that makes me sad. I agree though, I would like to see Bale give an American Psycho-like performance sometime soon. That was incredible. He's a great Batman, but we haven't seen anything like he did with Patrick Bateman in too long.
batman11
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Awesome to hear about all these positive reviews. Speaking of which, I can't seem to find his review, but there's a Public Enemies web banner on HitFix with Peter Travers calling it "One of the best movies of the year." Can't wait to read his full review once it finds its way online.
EDIT: Also, from the HitFix review, it appears as the McWeeny (the reviewer) liked Bale in the role, saying that it was a small part which he played effectively. The whole "not a movie star" idea is an interesting way to look at Bale's career as well.
EDIT: Also, from the HitFix review, it appears as the McWeeny (the reviewer) liked Bale in the role, saying that it was a small part which he played effectively. The whole "not a movie star" idea is an interesting way to look at Bale's career as well.
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There's a new TV spot online that features more blurbs from Peter Travers.
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Yeah, I should've mentioned that. It's interesting hearing all these different takes on his performance. I think it's just one of those cases where there just wasn't much on the page for him (and from the version I read, there really wasn't). No one's saying he's actually bad, just either nothing special, or, he "works." I saw an interview on Entertainment Tonight where he says there's no bones about it - "This is Johnny's movie." I don't think he was aiming for anything big here, and probably just signed on for this film because he wanted to work with these people and was interested in the subject matter, because he really is just a supporting character in this, and a cipher at that.
batman11
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Ahh yes, I forgot about that review. Cool beans. My anticipation for this movie is skyrocketing. The silent scene with Depp in the police station sounds brilliant. And it's quite thrilling to hear some of the reviews call this Depp's best performance ever, seeing as the man is chalk full of great roles.
batman11
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Yeah, that's sort of the consensus I'm getting. Bale genuinely seems to be happy to be part of the movie, and even expressed his enjoyment of the gangster genre in a couple interviews. It would appear that he resonated with the subject matter as well, based on the touching story about visiting Purvis' grave as part of his preparation for the role.
I'm starting to think the same.
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I'm getting that vibe too.
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Bale is just choosing smaller roles
to say his acting is declining is blowing **** out of proportion
to say his acting is declining is blowing **** out of proportion
Ben Lyons is an idiot and a terrible critic.
He should also read up that this is the most accurate depiction of Dillinger and is more accurate than most films based off true stories.
The Chris
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You know I'm getting a little frustrated with all this Bale is Dull, he's not that good of an actor business. Just two years ago, two years ago, these same people were kissing his butt saying he should get a oscar nomination and everything else for Rescue Dawn. What happened people? He hasn't done that many films since that. The only movie where I understand people saying oh he doesn't do much and take any chances or whatever is Terminator 4. Where is the real judgment of acting? Where you not just judge line delivery and charisma but subtlety and mystery. That's not being cold and dull to me. That's acting that makes me think "What is going on in this guy's head?". I think scenes in The Dark Knight like when he's sizing harvey dent out in the restaurant, when he's interrogating Joker and Maroni, when Harvey says he was the one who lost everything, I love his eyes. His eyes tell the whole story, and he's not doing too much, he doesn't have to "wear his heart on his sleeve" I haven't seen This new film of course but one piece of acting that struck me in the HBO first look was
Purvis' back turned as someone seems to be getting tortured
Dark Knight
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Yeah, it's pretty obvious that the Bale haters are just hating to hate, and will look for anything to try rip him.
The haters have no credibility and it is a waste of time to even acknowledge them.
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