The film Public Enemies (2009) is in its abstract sense an artistic look at surrealism within the context of narcissism. In other words the Gangster has a fascination with crime in an almost comic book like way. This is notable for the literature Dillinger, reads and moreover the Hollowood films such as Manhattan Melodrama (1934) which he watches, and which is about 'gangsters'. These gangsters are glamorised via the prism of a camera lens and the Hollywood public relations machine. That Hollywood machine manufactures stars such as Clark Gable and William Powell and juxtaposition them with gangsters and beautiful women. This is reflected back through gangsters such as Dillinger who emulate their heroes. This is further reflected back through Hollywood films until eventually the stereotyped gangster is born. In a twist of irony this is further reflected by Michael Mann's direction and Johnn Depp's acting in Public Enemies.
The '30s was a time when heroism was being promoted via the likes of Italian fascist Musolini and his adaptation of philosopher, Neitcher's idea of the 'superman'. As such heroism was in vogue. For the likes of Dillinger the Great Depression gave way to opportunities for his like to become the anti-hero, divesting the wealthy banks of their riches, and as such their power gained through the accumulation of money. From a Marxist perspective, the FBI and the police were therefore only protecting the wealthy bank owners from gangsters, rather than the citizens.
This is a film that is clumsily put together. However, it does permit an abstract reading of it. Johnny Depp looks pretty as usual, while Christian Bale was the better actor.
Depite a few anachronisms it was a treat to see men in Fedoras again! If nothing else Public Enemies could promote a Fedora come back, and a market for good old black and white classic cinema of the Hollywood Golden Age, such as in Manattan Melodrama, which seems difficult to get hold of on DVD at present.
The '30s was a time when heroism was being promoted via the likes of Italian fascist Musolini and his adaptation of philosopher, Neitcher's idea of the 'superman'. As such heroism was in vogue. For the likes of Dillinger the Great Depression gave way to opportunities for his like to become the anti-hero, divesting the wealthy banks of their riches, and as such their power gained through the accumulation of money. From a Marxist perspective, the FBI and the police were therefore only protecting the wealthy bank owners from gangsters, rather than the citizens.
This is a film that is clumsily put together. However, it does permit an abstract reading of it. Johnny Depp looks pretty as usual, while Christian Bale was the better actor.
Depite a few anachronisms it was a treat to see men in Fedoras again! If nothing else Public Enemies could promote a Fedora come back, and a market for good old black and white classic cinema of the Hollywood Golden Age, such as in Manattan Melodrama, which seems difficult to get hold of on DVD at present.