约翰尼德普和克里斯蒂安贝尔在公共敌人|媒体

You don't go to a Michael Mann movie for realism.你不必去一个迈克尔曼的现实主义电影。 You go for the sleek, threatening glamour of crime and punishment.你去的时尚，威胁和惩罚犯罪的魅力。 From “Thief” to “Heat” to “Collateral” to another vein of wrongdoing in “The Insider,” his films ruminate, beautifully, as they place their characters in settings of insinuating darkness, hunter versus the hunted, brothers under the skin.Mann's latest is “ Public Enemies ,” starring Johnny Depp as charismatic Depression-era outlaw John Dillinger and Christian Bale as G-man Melvin Purvis.从“小偷”到“热”到“借刀杀人”另一种不法行为静脉的“内幕”，他的影片玩味，漂亮，因为它们放在黑暗的暗示，猎人与设置的字符的追捕，兄弟皮肤下。曼的最新的“ 公共敌人 ”，主演约翰尼德普魅力萧条时期取缔约翰迪林格和克里斯蒂安贝尔工业国的人梅尔文珀维斯。 It's a fascinating bundle of contradictions — authentic in a million details, deeply romanticized in others.这是一个矛盾迷人丛-真正在100万的细节，深深别人浪漫。 Cool, calm and collected, this is more love story than gangster picture — Marion Cotillard, Oscar winner for “La Vie En Rose,” plays Dillinger's lover, Billie Frechette — and it's more vivid around the edges than at its center.冷静，不动声色，这是流氓多图片的爱情故事 - 马里昂歌迪亚，奥斯卡奖的“玫瑰人生”，扮演迪林格的情人，比利谢特 - 它更多地围绕在其中心的边缘较生动。 Yet a genuine filmmaking intelligence guides every scene, even the frustrating ones.然而，一个真正的电影情报指导每一个场景，甚至是令人沮丧的。

Director and co-writer Mann focuses on 1933-34, the final year and a half in the life of Dillinger, a time when the elusive bank robber's appearance in newsreels provoked bigger applause than that for FDR and Charles Lindbergh, according to one magazine account.主任和合作作家曼侧重于1933至1934年，最后一年半的迪林格生活的时候难以捉摸的银行抢劫犯在纪录片外观引起的掌声大于对罗斯福和查尔斯林德伯格，据一家杂志社的帐户。 For a few attention-grabbing months, Dillinger stayed one step ahead of the feds ( Billy Crudup plays crime czar J. Edgar Hoover) while Purvis, a narrowly conceived role played by a rather rigid Bale, endured more than a few missteps.对一些引人注目月，迪林格住领先一步的联邦调查局（比利克鲁德普次犯罪沙皇埃德加胡佛），而珀维斯，一个狭隘的作用是相当严格的贝尔比赛，经历不少失误更多。

The script comes from Bryan Burrough's fine, expansive account “ Public Enemies : America's Greatest Crime Wave and the Birth of the FBI, 1933-34.” While Mann focuses the film on Dillinger's last hurrah, he tries to suggest some of the other forces at work during those years, chiefly the mob syndicate's nationwide web of corruption.该脚本来自布赖恩伯勒的罚款，膨胀帐户“ 公共敌人：美国最伟大的犯罪浪潮和联邦调查局，1933年至1934年出生。”虽然曼集中在迪林杰最后的欢呼电影，他曾试图建议其他一些部队在在这几年的工作，主要是暴民集团的腐败全国网络。 We meet a lot of tough guys; the script's structure seems built to support a much larger film (or a miniseries), and Dillinger and Purvis must compete for our attention against an interesting array of gangsters and federal law enforcement officials closing in on Dillinger's gang.The outlaw at the center was the last of the Mohicans, in Mann's view.我们满足了很多硬汉，脚本的结构似乎支持建立一个更大的电影（或短剧），以及迪林格和珀维斯必须注意竞争，我们对一个黑帮和关闭迪林格一伙联邦执法官员有趣阵列。为中心的取缔是最后的莫希干人，在曼的观点。 (Mann's version of “The Last of the Mohicans” marked an earlier combination of exacting period detail and swoony romance.) Like all Mann heroes, who are both humanized and fabulized by the director's meticulous touch, he is meant to evoke a kind of nostalgia for the days, if they ever existed, when men were men and codes were codes, and adversaries respected the rules of engagement. （曼对他说：“莫希干”最后版本标志着一个细节的严格的时间较早，并swoony浪漫相结合。像所有曼英雄，谁都是人性和导演的精心触摸fabulized），他是为了唤起一种怀旧情绪为天，如果他们存在的，当男人是男子和规范的法规，并尊重对手的交战规则。

Like a lot of things in this life, “Public Enemies” looks terrific at night and less so in broad daylight.一样的事情很多，在此生活，“公共敌人”看起来很棒，减少夜间在光天化日之下如此。 Mann and cinematographer Dante Spinotti shot it in Midwest locations, both urban (Chicago, in case you hadn't heard) and rural, on high-definition digital video favoring hand-held, close-quarters compositions. Mann和摄影师但丁斯宾诺蒂拍摄地点是在中西部地区，无论在城市（芝加哥，如果你没有听说过）和农村，在高清晰度数字视频利于手持，近四分之三组成。 The visual quality is striking, notably in a 15-minute sequence — the best in the film; the one that makes it worth seeing — pitting Dillinger and his cohorts against the feds in a northern Wisconsin lodge known as Little Bohemia.视觉质量是显着，尤其是在15分钟的序 - 这是最优秀的影片，使一看到它的价值 - 对立迪林格和对在北部威斯康星州的联邦调查局向同伙的小波希米亚众所周知的。 The inky darkness, the staggering explosions of light every time someone lets loose with a round from a Tommy gun — none of it would look the same on celluloid.在漆黑的黑暗，在惊人的爆炸轻每当有人信口雌黄一个从冲锋枪轮 - 它都不会看搬上相同。 The scene is beautifully mapped out in every way, as strong as any of the violent set pieces in “Heat” or, more recently, Mann's big-screen version of “Miami Vice.”Mann's direction is excellent; the script, hit and miss.美丽的一幕是制定了各种方式，如设立的暴力片的“热”，或最近曼的大屏幕版的“迈阿密风云强烈。”曼恩的方向是出色，剧本，碰运气。 “What do you want?” Cotillard's Billie asks him. “你要什么？”歌迪亚的比利问他。 “Everything. “一切。 Right now,” Depp's laconic antihero answers.现在，“德普的简洁antihero答案。 Elsewhere we get such period-accurate but cornball exchanges as:在其他地方我们得到的期限，准确，但cornball交往：

Depp is fully capable of exploring the subject's roguish charm as well as his dangerous side, but the screenplay by Ronan Bennett, Mann and Ann Biderman puts forth a rather dreamy conception of Public Enemy No. 1.德普完全有能力探索这个问题的调皮魅力以及他的危险的副作用，但贝内特的罗南，曼和安比德曼剧本提出了一个的头号公敌，而梦幻般的概念。 For all its talk of living fast and dying young and time running out, the story's urgency feels muted.其所有的生活和死亡的快速青年和时间的流逝，说，这个故事的紧迫性感觉静音。 Yet you respond to the filmmaking, the pleasures of the Depression-era re-creations, even if you don't fully buy this easygoing depiction of Dillinger.然而，你响应电影制作，大萧条的快乐时代再创作，即使你不买这充分迪林格随和的描述。 Several key supporting characters are sharply realized.几个关键配角的大幅实现。 When Peter Gerety shows up as a bantam rooster of a syndicate lawyer, pouring on the blather in the courtroom like a wizard, you're thrilled to see a good actor get some juicy lines.当彼得格雷蒂显示为一个集团的律师矮脚鸡公鸡，就在这样一个向导法庭胡说倾吐，你非常高兴地看到一个好演员获得一些多汁线。 In a different key, Stephen Lang (as a Texas lawman aiding Purvis) registers with unusual force.在一个不同的密钥，斯蒂芬朗（得克萨斯州执法者作为援助珀维斯不寻常的力量）寄存器。 He has perhaps a dozen speaking lines, yet the coda belongs to him, and he makes the most of it.他说，也许十行，但结尾属于他，他使大部分。 Cotillard embodies the film's inner tensions and Mann's aesthetic: The role of Billie begins in the key of “cliche gun moll,” but the actress has a way of toughening her up and keeping her honest.歌迪亚体现了电影的内在紧张和曼的审美：比利作用的开始，在“陈词滥调郡莫尔，”关键，但演员有增韧她，让她诚实的方式。

In an end-title we learn of Purvis' post-Dillinger fate (his run-ins with Hoover remain unmentioned), and it's not sufficiently set up.在最终所有权，我们学习珀维斯的后迪林格的命运（他的运行与胡佛仍然未提及的程式），并且它没有充分建立。 Even though Mann positions Purvis as an upright lawman with no stomach for the brutal tactics employed by some of his colleagues, he remains a recessive figure.虽然曼的立场珀维斯作为一个没有为他的一些同事所采取的残酷手段胃直立执法者，他仍然是一个隐性数字。 There is, however, a tantalizingly effective scene when Purvis comes to see Dillinger in jail — a more compact version of the coffee shop meeting in “Heat” between Robert De Niro and Al Pacino.然而，一个令人着急有效的情景珀维斯来探望在狱中迪林格 - 一个咖啡馆会议“热与罗伯特德尼罗和艾尔帕西诺”更紧凑的版本。 Here, as in the Little Bohemia sequence, Mann nails it.在这里，如小波希米亚序列，曼恩钉它。 Roughly half this film works like gangbusters, while the other half hits its marks, dutifully, and not even Elliot Goldenthal's turgid musical score can smother the half that clicks.大约一半的电影作品势如破竹，而另一半点击其标记，尽职尽责，甚至不会艾略特高登索的装腔作势乐谱可以扼杀一半的点击。