Public Enemies

Depp. Bale. Spinotti. Mann. These cats were workin' together and workin' on a crime biopic of one John Dillinger. Another film shot on digital, controversially to some. His aesthetic that he brings to the table on Public Enemies is perfect for a TV show. A big reason why I'm anticipating the TV series. Luck even more.

The problem here is the approach. The canvas of Public Enemies just seemed too small to pack everything in. I was left a little underwhelmed walking out. I don't want that from a Mann film. Granted, there were Mann's Greatest Hits all over this film. The action scenes, sound mix, attention to detail, etc. But as a whole, the investment in the story didn't really pay off as well as I hoped it would. There's a real vibe working in Vice. And in Heat. Even in Collateral. I sorely wanted that Mann vibe in here. B

Finding your inner medulla: Miami Vice

Of all the films in Mann's catalog, this is the one I was interested in revisiting the most. One that was slighted both critically and commercially as not fitting in the same white overcoat as Don Johnson and instead veering into new territory.

Adaptations from television shows are a lose-lose scenario 4/5 times. Having said that, Mann wasn't interested in stepping back into the pastel colored world of Miami Vice as much as creating a photo negative of that world. A reboot, if you will. It pains me to use that word in a day & age where studios are reboot happy with franchises & brands.

The closest resemblance to structure as far as television show goes is it's similarity to Smuggler's Blues. A mid season episode from Season 1. I love the series just as much as any Vice fan. Why be a retread though? Mann's minimalist style suits the material well. The digital allows for some great depth of field nighttime scenes. I would say "New Decade. New Rules." But that tagline has been co-opted by a bunch of "hot & hip twentysomethings." So I'll save you the bouts of nausea.

The soundtrack that was once thumping melodies from Peter Gabriel, U2 & The Who is replaced by Moby/Patti LaBelle & Mogwai. The former creating a scene that is prime Mann and the latter closing out the film in a subdued, somber manner.




Vice's dreamlike, existential narrative is key for Mann's new digital aesthetic. It's crept into many of his films. Here it's on full display. The nuances, close-ups, use of color, etc. A film that tropes action genre cliches & doesn't get enough credit in Mann's canon. A

Back to the Streets: Collateral

With Collateral, Mann took a good pot boiler script and really used it as an experiment for new visual techniques. He's back on the streets. The hynotic use of lights, architecture & geography of Los Angeles. It's all there. Only this time it's more focused. Most of the scenes being shot with the Viper Cam, a camera he would use to shoot his next film. He still has an incredible eye for action set pieces, as evidenced in the nightclub shootout. Collateral also brings up some interesting challenges such as filming conversations in a car while still making them interesting. Mann's influence from Dr. Strangelove is apparent in that the film is basically an entire third act. Moving forward with a certain drive and momentum that is in sharp contrast to the wide canvas he used on Heat. A compressed, focused thriller that never overstays its welcome. A

Sucker Punch: Ali

Biopics are usually, to coin a phrase from Will Hunting, paint by numba. It all depends on what the director and actor brings to the material. & that's the thing. Finding a right matchup. Ali stands as continuation of the pure drama based characterizations Mann used in The Insider. It's a sucker punch to the gut. & no, this sucker punch will not be thrown in slow motion with an on-the-nose soundtrack. Some familiar faces briefly pop up- Ted Levine, Bruce McGill & a new one that will be trading in his advising for taxi driving lessons.

Ali opens up with a fantastic montage that shows Mann in the zone. Intercutting Ali's early life with his present life all backed by a nightclub performance from Sam Cooke. The boxing scenes deftly reveal Ali's magnitude in the ring. The in close camera shots even keep us on our toes. For the most part however, the filmmaking is in the background while Ali's life takes center stage. Whose larger than life personality is personified by Smith's performance. To be sure, Mann's expressionism is based around a broader scope that preaches as much on prejudice than just funneling it out to look at a the portrait of a single athlete. The problem with this is, had he chose to go that route it would have gotten higher marks. It more than likely could have been his third masterpiece in a row. It's a fascinating time, story & portrait of a life. I just wish it could have been more than what I was left with after the bell sounded.


One thing that should be noted: this is all based around the Director's Cut. Some of the best scenes- the opening, the Zaire pre-fight scene- are given more weight. It's not exactly a James Cameron Director's Cut, where entire subplots are put back in. But the 8 extra minutes add to the story as they should. We'll get to another (yes, Mann loves them scissors) director's cut soon. B+

Safe From Harm: The Insider

Grains of hyper-realized truth embedded within the framework of a film are sometimes easy to pluck at. The end card tells us some of these events were exaggerated for dramatic effect. Yet, it's able to get away with it. In terms of truth telling, this is a film that bats in the 90's. Chronicling a crucial turning point in American journalism but more importantly painting a picture of a man whose integrity is at stake. It's a murky sea of moral dilemmas that pervade the frames & will wipe the smirk off your face faster than a Bruce McGill outburst.

Mann has always had a penchant for realism and this is by far the best example of that. Not to mention the use of surrealism in the night time golf & mural transformation scenes. Employing wide shots, intense close ups and indirect focus. Razor sharp cutting that isn't showy- it moves the scenes along to a certain rhythm that never feels forced. The bullets that once hummed along L.A. city streets are now being placed in mailboxes. The dialogue cascading from a red screen on Wigand's computer to faxes, right up to to the corporate news offices of 60 Minutes. This film is porn for people who love smart dialogue. Unrelenting in its delivery of intelligent material and morality plays. The soundtrack adds a whole other dimension to the proceedings and is the decor of this sound structure. There is a certain point at the ending that has plucked at my heartstrings with somber rhythms. Rhythms rarely felt. Lisa Gerrard has a hand in it. Her soothing voice stirring up honest emotions. I feel like I am a better person for having watched it. There's not too many works of art I can say that about. Top 10 worthy. A+

Risk Vs. Reward: Heat

Heat would represent the last time Mann would shoot in his old style of filmmaking. He would end up framing shots differently and not locking down his camera in the same way he did on previous films. One thing that is still apparent in Mann's work is his painterly visual style. The use of architecture, glass surfaces, color coding (he loves those blue filters) and introspective characters mimic the paintings of Edward Hopper. Both artists paint lonely characters against visual motifs. Even looking at the work of David Hockney, one is bound to draw connections on how Mann was influenced by the architecture and how it informed the "dead tech post modern houses" that overlook the city.

The most striking thing about Heat, moreso than the gun battle which set a new standard in bank heist scenes, is the way in which the ensemble cast go about in making choices that will either diminish them or move them further along a path of hopefulness. & that's the thing with the characters- so few of them have taken that route by the end of the film. Moral and causal relativity amongst characters was something Mann was interested in and has always been interested in. It's not so much good or bad but that grey area between that is defined by behavior. With a cast this large, each character is given nuance and depth that play into that factor. Right down to the getaway driver who was recently released from prison.

Neil's "30 seconds flat" philosophy that he discusses with Vincent in the now famous coffee shop scene between the two screen legends is something he abides by up until the very end.That one decision made ultimately determines Neil's fate. One could say everything led up to that moment which climaxes into another scene between both leads. But the ending is neither triumphant or cathartic for Hannah. Capturing the duality of the professional thief & the cop is something Mann has always excelled at more than any other director. Here he shows the full potential of his abilities in that respect.

People claim this to be Mann's opus. His defining work. While it's not my favorite of his, it is the first of his works I would see and a constant reminder of why I love his aesthetic. A+

Up & Down the Frontier: Last of the Mohicans

Mohicans is directed at a ferocious pace and carries one of the more well known scores of Mann's films courtesy of Trevor Jones & Randy Edelman. For a filmmaker known for reinventing the crime genre with his aesthetic, this film proved a departure from the streets. Instead it is fitted with 1757 attire. It's certainly one of the best looking films in Mann's filmography. Gone is the color pallette of previous films. In are the picturesque nature scenes with lots of brown & greens. One nice addition to Mann's style is the increasing realism of violence. Not that he's had the wrong penchant for depicting things with authenticity. It's just become more pronounced here. Particularly in the ambushes and geography of the scenes. The use of Daniel Day-Lewis doesn't hurt either.

Of all Mann's films, this feels like the odd duck of the bunch. Mann's storylines have, for the most part, been compelling . & that's not saying that this 'odd duck' of a film is bad just because it sticks out from the rest. What I am saying is that the story is too middle of the road for a Mann picture. I'm left wanting more. Not in a good way. However, more is exactly what Mann would deliver with his next film. B-

A Great Becoming: Manhunter

The inevitable comparison to Silence will always be brought up regarding this film. As well as the comparison to the haphazardly informed Red Dragon. As far as stories go, Manhunter is the more interesting of the two. To me at least. Particularly when it boils down to villians. Dolarhyde's storyline feels more striking than James Gumb's. Buffalo Bill may be nasty and repulsive towards his victims but the Tooth Fairy's M.O. is killing entire families in order to 'change'. Something I find just as terrifying as Buffalo Bill's tactics- if not moreso. Both Noonan and Levine turn in the performances of their careers in those films. Don't get me wrong, both are top quality films in their own respective ways. I choose Silence slightly over this because of how well Demme was able to build on the foundation this one laid.

A difference from Thief & The Keep is the addition of DP Dante Spinotti. A key collaborator who, along with editor Dov Hoenig, would shape and form a tight thriller that is informed by strong characters. Even if the music hasn't aged well (which honestly doesn't bother me), the sterile atmosphere of the sets & observational approach in its storytelling give the film a particular mood. It's even little things that make this film work the way it does. Reba caressing the tiger as Dolarhyde watches. All contributing to a potent sense of anticipation towards a startling climax.

Manhunter can be viewed as an underrated thriller unfairly judged for some of its stylistic choices. Whatever the case, it's further proof that we owe Mann awe. A

Through the Smoke: The Keep

The sophomore slump. Something that is even common in music. How is that band going to capture the magic of their debut and build upon it? Well, this album has some of the same beats. Tangerine Dream & Robert Prosky included. But it certainly isn't the same genre. This time Mann serves us a horror film. What could go wrong? We saw what a high profile director could do when Friedkin went from the drug pushin' streets of French Connection to the pea soup covered sheets of The Exorcist. Well that's just not the case here.


Don't get me wrong. Mann is on point in his direction. One thing I thought I'd never see in a Mann work: a smoke monster (no, not the Black Smoke from Lost.) That's the whole problem. It's not so much that I'm criticizing Mann for doing something radically different from the rest of his work. Mann's visuals defined an important subculture of the 80's. The color pallette is even more subdued here. But when filtered through the horror film, a period horror film at that, the stylistic trappings only build to a point.

Mann admits he is embarassed by the film and slightly ashamed. Even if it's at the bottom rung in the ladder of Mann's works, it still warrants a release on DVD & Blu-Ray. Let alone the fact that the studio cut out a substantial amount of scenes- butchering it. A film like this is needed to explore the evolution in the director's career. How else are film fans suppose to see it? Well, NetFlix for the time being. That's how I ended up seeing it. C+

Green Mill Fireworks: Thief

The debut film of an auteur should act as a blueprint for what is ahead. Small brushtrokes that are discovered throughout the artist's later work. In the case of Mann, Thief was that blueprint. The director's films (the majority of them anyway) always seem preoccupied with the concept of work. Men who practice their craft and live a routine. Jimmy Caan's performance as Frank embodies this in his yearnings for a better life. Something that haunts the individualists of Mann's world. They have no need for contractions.

Mann chose to set Thief to a propulsive electronic score by Tangerine Dream. Another thing that is his forte: knowing how well music adds depths to scenes. To some, the synth-driven score may come off as dust on a stylistic heist film. I look at it as a coat of polish. Setting music over the wet streets with the neon reflections became a trademark. Particularly in some of his static compositions during the 80's. It links itself to the In the Air Tonight montage in Miami Vice. What's even more present than any other film of his is the extended dialogue exchanges. In particular, the one at the cafe between Caan & Tuesday Weld. Add in some great Peckinpah-like slow motion and you got Mann's early style.

Mann would trim these stylistic flourishes that he captured in this film. It's still an very impressive debut that lies in the shadow of his more operatic works. Remember, Frank is the mold from which characters like Neil McAuley were made. A

Tortious interference

Bye, bye blackbird

The theatrical version of Miami Vice, upon first viewing, is a bit of a disappointment when you stack it up against Mann's previous film Collateral. Unlike Collateral, Mann opted to release a director's cut. He is known for these director editions. Peviously releasing them for Thief, Manhunter, Last of the Mohicans and Ali. In hindsight, Miami Vice: The Director's Cut is a film that will reward viewers after several viewings. Once you start to realize that it's more content- based as opposed to character based. Therein lies my problem with Vice in the first place- character development. This is a thread that carries on into his work on Public Enemies.

After leaving the theater after seeing Public Enemies, I did not feel the same way when I saw Collateral, Heat or The Insider for the first time. Mann had so many great collaborators working on this one. What got me watering at the mouth was how it almost mimicked Heat in terms of collaboration. There was Dante Spinotti on photography (finally teaming up with Mann since The Insider) and Elliot Goldenthal composing the score. Then you had the two big name actors: Johnny Depp & Christian Bale together in a film for the first time. Their meeting in the jail cell brought back to mind Vince & Neil's meeting in the coffee shop. In fact, this movie echoes some of the same themes he presented in Heat. That's not a bad thing, but I feel it was done better in that film.

My big complaint on Mann's current visual aesthetic is not so much the fact that he's using digital, but how he's using it. The issue with this is: Why use digital to create such a "You are there" type of look when the viewer is not invested enough into the characters. What hinders Public Enemies is Mann's choice of sacrificing character development in order to get to a string of highlights and action sequences. You almost have to come in after having researched Dillinger to enjoy this movie.

Looking back at Heat, even a character as small as the getaway driver played by Dennis Haysbert is given scenes to strengthen the development of his character. That type of development is absent in both Vice and Enemies. I am longing for another great character moment from Mann's repertiore. Characters like Jeffrey Wigand, Vincent, Neil McAuley, and even a Frank from Thief.

Alas, there was no director's cut of this movie. Right now it sits near the bottom of Mann's catalog. I was honestly quite bored watching it for the 2nd time. Mann is currently shooting the TV film Luck with Dustin Hoffman and airs on HBO in 2011. One can hope that this is a rebound or at least gives him a burst of creative energy to tackle his next theatrical project with a fresh new way of telling a story.

This is who I am

$150 slacks.
Silk shirts.
$800 suits.
A gold watch.
A perfect D flawless 3 karrat ring.