Underestimated and misunderstood, Public Enemies It’s not just a great Michael Mann movie, it may be Johnny Depp’s hidden testament.
It is an understatement to say that Michael Mann will have been a director punctually adored, but frequently misunderstood. the cult series Two policemen in Miamithe cosmically elegant Collateral and the instant classic Heat it still serves as a prestigious calling card, but these three strokes of brilliance remain a trio of trees poorly concealing a dense forest of misunderstood projects.
Mann is also the production and then the hellish premiere of the black fortresserasing, for years, the Lecter from his Sixth Sense for the benefit of his incarnation of Silence of inocentsthe courteous indifference of the spectators before the colossal revelationslater Ali and finally the consummated divorce with the public and much of the criticism from Miami Vicebaked hackerthat we feared would permanently distance him from the big screen, until the very fresh announcement of the start of construction of his fantastic Enzo-Ferrari. And in the midst of this chaos shines a jewel of a particular black.
of course it is Public Enemies, epitaph to the glory of a past Hollywoodand malicious testament of a star then at the height of its glory, perhaps glimpsing its irremediable fall.
Get hurt Johnny-Johnny
DILLINGER ESCAPE PLAN
The highway robbers that history consecrates are rare. Those who become myths during their lives are even more so. Figures of transgression, of rebellion, sometimes libertarian icons, sometimes symbols of social struggles… The tutelary figure of Robin Hood looms about the most illustrious of them. This was the case for Cartridgeto whom we recently dedicated an analysis, which is not unrelated to the actor we are interested in today, but also, and probably more so, to John Dillinger
The devastating American icon of the early twentieth century was, so to speak, the last of his lineage, of his career, but also of his death that heralded the profound changes operating in American society, but also in its institutional structures. The gangster has an impressive track record. Accompanied by recurring accomplices, he robbed no less than 24 banks throughout the United States, 4 police stations and managed to escape from jail twice, before being shot in Chicago in 1934, coming out of a movie theater. The mobster and his comrades-in-arms made headlines, both in the tabloids and in the most prestigious news magazines and publications.
And don’t go back to square one
Despite the bloodshed that regularly accompanied his abuses, the man benefited from a positive aura, a man of the people who killed the powerful and robbed the rich of unjustly collected sums. An image reinforced by the time, that of the Great Depression, where the impoverishment of the population could only make him an eminently popular rebellious figure, coupled with a reputation as an unrepentant seducer. And if in all likelihood, Johnny Depp isn’t in the habit of showering the order’s representatives with salvos of lead, it’s perfectly logical that Michael Mann offered him this “larger than life” role.