Comparing the Films Dillinger and Public Enemies
The Differences in Approach Taken by John Milius and Michael Mann
Jul 28, 2009
The obvious difference between the two movies is Mann’s use of a new Hi-Def format. Public Enemies looks far more realistic than most films. This may be a plus for some, but despite all the hype surrounding digital, celluloid is more beautiful. Besides films are not real; however much Michael Mann may strive for authenticity even a movie based on fact is a dramatic interpretation of events.
Warren Oates and Johnny Depp as John Dillinger
Mann’s Dillinger (Johnny Depp) is a noble, romantic figure. Like the protagonists in Thief (1981) and Heat (1995) he acts by a code of honour despite being a criminal. This Dillinger refuses to take money from customers inside the bank and is appalled by Baby Face Nelson’s (Stephen Graham) unprofessionalism and disregard for human life.
Milius presents a rougher Dillinger (Warren Oates), a likeable scoundrel, with a child-like enthusiasm and a need to believe in his own immortality. In a bar he shoots the place up, robs the patrons and then throws their money on the floor so they all have a chance to pick it up. This redistribution of wealth could be viewed as communism although it is doubtful Milius, who would go on to direct the anti-Soviet Red Dawn (1984) meant to portray Dillinger as a Bolshevik railing against a failing capitalist system.
Differing Approaches in Tone
Both directors admire Dillinger’s rebellious nature and his awareness of his own legend. Mann’s film is a tragedy; a brooding mediation on an iconic outsider. Milius takes a different approach foregoing the portentous for playfulness. Barry DeVorzan’s jaunty soundtrack only turns darker in the climactic sequence outside the Biograph Theatre.
Melvin Purvis
In Public Enemies Purvis is a conflicted figure at the beck and call of FBI boss J. Edgar Hoover. Purvis committed suicide in 1961 and Christian Bale hints at unease behind his gentlemanly exterior. Initially a little out of his depth Purvis eventually manages to apply the latest crime-fighting techniques to his manhunt.
In Dillinger Ben Johnson plays an old-fashioned archetype, the Western hero. This Purvis is older, wiser and completely in charge. Hoover is mentioned by name only. Purvis smokes cigars as he hunts down and kills his prey. When Dillinger taunts him over the phone, Purvis rattles the outlaw by remaining calm and friendly. There is no doubt he will get his man and despite his claims to be immortal deep down Dillinger knows this too. Mann uses a similar archetype in Public Enemies, though it is not Purvis, but Special Agent Winstead (Stephen Lang), the tough former Texas Ranger.
Billie Frechette
In Public Enemies the charming Depp sweet talks Billie off her feet. In Dillinger Oates steals her drink, drags her out of a bar and takes her home where he promptly throws her on the bed. At first she is reluctant to travel with him and who can blame her? Billie runs away to her mother’s, only for Dillinger to remove her by force. Eventually though she is so smitten she wields a machine-gun to provide him with covering-fire as he escapes from the raid on Little Bohemia.
‘Pretty Boy’ Floyd and ‘Babyface’ Nelson
In Public Enemies ‘Pretty Boy’ Floyd (Channing Tatum) is shot and killed by Melvin Purvis at the beginning of the movie. This prompts J. Edgar Hoover to promote Purvis and set him on his pursuit of the Dillinger gang. In Dillinger Floyd (Steve Kanaly) becomes part of the gang and runs with them until he is killed shortly after the FBI raid Little Bohemia. ‘Babyface Nelson’ (Richard Dreyfuss) is shown being kicked into submission by Dillinger until he agrees to be subservient; however in Public Enemies it is Dillinger who reluctantly agrees to join up with Nelson, a decision that costs him dearly.
Bye Bye Blackbird, the Death of Dillinger
John Dillinger went to a screening of the Clark Gable/William Powell movie Manhattan Melodrama accompanied by a madam, Anna Sage and one of her girls. Unbeknownst to Dillinger Anna set him up and while he watched the film the FBI gathered outside with orders to shoot on sight. Milius provides an unsentimental ending with Dillinger leaving and Purvis calling him out. Dillinger goes for his gun like a true Western gunslinger but Purvis has him. There is no time for last words.
Mann intercuts between Dillinger in the auditorium enjoying the film and the FBI waiting outside. Few directors can create tension with a series of shots of men giving meaningful stares, but Mann is a master of these types of sequences. Purvis never fires a shot at Dillinger, it is Winstead who fells him and hears his final words. Rather fancifully they are “Bye Bye Blackbird,” the name of the song Billie and Dillinger heard in the club when they were courting.
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