Top Ten Favorite Movies Set in the 1860s

Below is my current list of favorite movies set in the 1860s: 

TOP TEN FAVORITE MOVIES SET IN THE 1860s

1. “Lincoln” (2012) – Steven Spielberg directed this highly acclaimed film about President Abraham Lincoln’s last four months in office and his efforts to pass the 13th Amendment to end slavery. Oscar winner Daniel Day-Lewis, Oscar nominee Sally Field and Oscar nominee Tommy Lee Jones starred.

2. “Shenandoah”(1965) – James Stewart starred in this bittersweet tale about how a Virginia farmer’s efforts to keep his family out of the Civil War failed when his youngest son is mistaken as a Confederate soldier by Union troops and taken prisoner. Andrew V. McLaglen directed.

3. “Angels & Insects” (1995) – Philip Haas directed this adaptation of A.S. Byatt’s 1992 novella, “Morpho Eugenia” about a Victorian naturalist who marries into the English landed gentry. Mark Rylance, Kristin Scott-Thomas and Patsy Kensit starred.

4. “Class of ’61” (1993) – Dan Futterman and Clive Owen co-starred in this television movie about recent West Point graduates and their experiences during the first months of the Civil War. Produced by Steven Spielberg, the movie was directed by Gregory Hoblit.

5. “The Tall Target” (1951) – Anthony Mann directed this suspenseful tale about a New York City Police sergeant who stumbles across a plot to kill President-elect Lincoln and travels aboard the train carrying the latter to stop the assassination attempt. Dick Powell starred.

6. “Far From the Madding Crowd” (1967) – John Schlesinger directed this adaptation of Thomas Hardy’s 1874 novel about a young Victorian woman torn between three men. The movie starred Julie Christie, Alan Bates, Terence Stamp and Peter Finch.

7. “The Good, the Bad and the Ugly” (1966) – Sergio Leone directed this epic Spaghetti Western about three gunslingers in search of a cache of Confederate gold in New Mexico, during the Civil War. Clint Eastwood, Lee Van Cleef and Eli Wallach starred.

8. “Cold Mountain” (2003) – Anthony Minghella directed this poignant adaptation of Charles Fraizer’s 1997 novel about a Confederate Army deserter, who embarks upon a long journey to return home to his sweetheart, who is struggling to maintain her farm, following the death of her father. The movie starred Oscar nominees Jude Law and Nicole Kidman, along with Oscar winner Renee Zellweger.

9. “Little Women” (1994) – Gillian Armstrong directed this adaptation of Louisa May Alcott’s 1868 novel about four sisters from an impoverished, yet genteel New England family. The movie starred Winona Ryder, Trini Alvarado, Christian Bale and Susan Sarandon.

10. “The Beguiled” (1971) – Clint Eastwood starred in this atmospheric adaptation of Thomas Cullinan’s 1966 novel about a wounded Union soldier who finds refuge at an all-girl boarding school in 1863 Mississippi. Directed by Don Siegel, the movie co-starred Geraldine Page and Elizabeth Hartman.

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“GANGSTER SQUAD” (2013) Review

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“GANGSTER SQUAD” (2013) Review

Every now and then, Hollywood would release a movie with a story based upon a particular event or individual from Los Angeles’ history. Movies such as “CHINATOWN”“L.A. CONFIDENTIAL”, and “CHANGELING” are examples. Recently, Hollywood released a new movie about a moment in Los Angeles’ history called “GANGSTER SQUAD”.

I must admit that I found myself surprised that the origin of the plot for “GANGSTER SQUAD” came from L.A. history. According to the book, “Tales from the Gangster Squad” by Paul Lieberman, Chief William Parker and the Los Angeles Police Department formed a group of officers and detective called the “Gangster Squad unit” in an effort to keep Los Angeles safe from gangsterMickey Cohen and his gang in the late 1940s and the 1950s. Screenwriter Will Beall took elements of Lieberman’s book and wrote a movie about the L.A.P.D.’s efforts to fight organized crime in the Southland. The movie starts in 1949 Los Angeles, where Cohen has become the most powerful figure in the California criminal underworld. Cohen has plans to expand his enterprises across the Western United States via the gambling rackets. Because the gangster has eliminated witnesses and bribed both the courts and the police, Chief Parker and the L.A.P.D. have not been able to stop Cohen’s rise. In a desperate move, Parker recruits the incorruptible and ruthless Sergeant John O’Mara to form a unit to wage guerilla warfare on Cohen’s operations and drive the gangster out of Southern California.

O’Hara, with the help of his very pregnant wife Connie, recruit the following men for his new unit:

*Coleman Harris, a tough beat cop from the South Central Los Angeles neighborhood

*Conway Keeler, a brainy wire-tapper

*Max Kennard, a legendary veteran gangster killer and sharp-shooter

Kennard’s young partner, Navidad Ramirez tracks down the squad and O’Hara reluctantly allows him to join. The sergeant tries to recruit his close friend, Sergeant Jerry Wooters, but the latter declines his offer out of disillusionment with the recent war and the police force. But when Cohen’s attempted hit on rival gang leader Jack Dragna results in the death of a young shoeshine boy, Wooters decides to accept O’Hara’s offer to join the squad. Also, Wooters has become romantically involved with Cohen’s etiquette coach and girlfriend, Grace Faraday. The squad’s campaign of terror against Cohen encounter a good deal of road blocks, including an unsuccessful raid against Cohen’s Burbank casino, the gangster’s penchant for paranoia, Wooters’ secret romance with Grace, Connie O’Hara’s desire for her husband to leave the police force and a deadly trap set up by Cohen in Chinatown. Despite the setbacks, violence and death, the squad eventually persevere over Cohen.

When I first saw the trailer for “GANGSTER SQUAD”, I immediately viewed it as one of those splashy, yet cheesy crime dramas trying to cash in on the success of movies like “L.A. CONFIDENTIAL” and “THE UNTOUCHABLES” by setting it before the present time. After seeing the movie, I suspect that my assumption was correct. There were elements in the movie’s story that I found unoriginal. Honestly. One could easily imagine “GANGSTER SQUAD” to be a post-World War II Los Angeles version of the 1987 movie, “THE UNTOUCHABLES”. Well . . . almost. And there were moments when I found “GANGSTER SQUAD” rather cheesy. This was obvious in some of the dialogue that came out of the mouth of actor Sean Penn, who portrayed Mickey Cohen; and in the movie’s narration spoken by Josh Brolin, who portrayed John O’Hara. And I might as well be honest. Penn’s dialogue was not helped by the occasional hammy acting that also marred his performance. For a movie that is supposed to be based on a historical book, I could not regard it as historically correct . . . especially in regard to the fates of both Cohen and rival Jack Dragna. I am a fan of Nick Nolte’s work, but I believe that he was a least two to three decades too old to be portraying Los AngelesPolice Chief William Parker, who would have been in his mid-40s in 1949. Also, Parker did not become the city’s police chief until 1950.

“GANGSTER SQUAD” was not a perfect film, but I liked it very much. I enjoyed it. I found it very entertaining. And I found it gorgeous and colorful to look at. Thanks to production designer Maher Ahmad’s work, the film beautifully re-created post-World War II Los Angeles at the end of the 1940s. I was especially impressed by Ahmad’s elegant, yet colorful designs for the Slapsy Maxie’s nightclub, Cohen’s Spanish Colonial house and the Chinatown sequence. Ahmad’s work was enhanced by Gene Serdena’s set decorations, the movie’s art direction team and especially Dion Beebe’s photography. And Mary Zophres’ costume designs were absolutely gorgeous. Just to give you a hint, take a look at one of her designs for actress Emma Stone:

Gangster Squad grace faraday gown

Even though “GANGSTER SQUAD” seemed to be marred by cheesy dialogue, lack of originality and historical accuracy, I cannot deny that Will Beall wrote a very entertaining and exciting crime story. He did a pretty solid job of setting up the main narrative with Sergeant O’Hara’s disruption of one of Mickey Cohen’s illegitimate businesses – a whorehouse staffed by naive girls fresh off the bus or train and eager to make it big in the movies. This disruption catches Police Chief Bill Parker’s attention, prompting him to recruit O’Hara to organize and lead the “Gangster Squad” unit against Cohen’s operations. Beall also filled the story with exciting action sequences that included a nail-biting shootout in Chinatown, a forbidden romance between Jerry Wooters and Cohen’s girlfriend Grace Faraday, strong characterizations and more importantly, a good solid narrative. Rueben Fleischer did a first-rate job in transferring Beall’s script to the movie screen. And Fleischer did this with a great deal of flair and strong pacing.

The cast for “GANGSTER SQUAD” proved to be first-rate. Josh Brolin led the cast as the strong-willed, yet emotional police detective Sergeant John O’Hara. Utilizing his talent for projecting a no-nonsense demeanor with flashes of humor, Brolin was very effective as leader of “Gangster Squad” unit. Brolin also managed to generate on-screen chemistry with other members of the cast – including Ryan Gosling, Anthony Mackie, Giovanni Ribisi and especially actress Mireille Enos, who beautifully portrayed O’Hara’s equally strong-willed wife Connie. “GANGSTER SQUAD” marked the second time Ryan Gosling and Emma Stone worked together since they were co-stars in the 2011 comedy “CRAZY STUPID LOVE”. And once again, they proved to be quite the effective screen team, as they burned up the screen as the cynical lovers Sergeant Jerry Wooster and mob moll Grace Faraday. I also enjoyed Anthony Mackie’s colorful portrayal of tough beat cop Coleman Harris, who developed an aversion to Burbank, following the squad’s unpleasant encounter with that city’s law enforcement. Giovanni Ribisi gave a poignant performance as the squad’s brainy wiretapper, Conwell Keeler. Both Robert Patrick and Michael Peña created a solid screen team as police sharpshooter Max Kennard and his clever protégé Navidad Ramirez. Although I found him slightly too old for the role, I must admit that I found Nick Nolte’s portrayal of Police Chief William Parker rather entertaining in a garroulous way. And despite some of the cheesy dialogue he was forced to spew, I must say that Sean Penn struck me as an effective villain in his performance as the violent Mickey Cohen. Especially when the cheese and ham were missing from his lines.

If you expect “GANGSTER SQUAD” to be a crime drama masterpiece, you will be disappointed. It is no masterpiece, I assure you. But . . . I thought it proved to be an entertaining, yet splashy crime thriller that recaptured the era of post-World War II Los Angeles. I guess one could thank Will Beall for his solid script, colorful direction by Rueben Fleischer, a

“PUBLIC ENEMIES” (2009) Review

This month marks the 77th anniversary of when Depression-era bank robber, John Dillinger, was killed by the FBI in Chicago, Illinois. Below is my review of “PUBLIC ENEMIES”, the 2009 movie on the last year of Dillinger’s life: 

 

“PUBLIC ENEMIES” (2009) Review

I must admit that when I first heard about Michael Mann’s plans to film a movie about Depression-era bank robber, John Dillinger, I became excited. It was not the subject that roused my interest. But I found the idea of Mann shooting a movie set during the height of the Great Depression – 1933 to 1934 – rather interesting. It has become a period in U.S. history that has caught my interest in the past five years. And the fact that Johnny Depp and Christian Bale had been cast in the leads as Dillinger and his nemesis, FBI Agent Melvin Purvis, merely increased my interest.

At first, I had assumed that I would love ”PUBLIC ENEMIES”. I assumed that Mann could do no wrong. Then to my surprise, I discovered that the film had received mixed reviews from film critics. From that moment on, I began to harbor doubts about the film’s quality. I never learn. Never. I had forgotten my most important rule about approaching a movie – the only opinion that should count for me is my own. And when I finally saw”PUBLIC ENEMIES”, I realized that I had to learn that particular lesson all over again.

I want to point out that ”PUBLIC ENEMIES” is not perfect. This does not bother me one bit. Perfect movies are extremely rare. And I suspect . . . not know, but suspect I may have seen one or two in my lifetime. However,”PUBLIC ENEMIES” is not one of those rare examples of cinematic perfection. First of all, the movie – especially its first hour – seemed to be marred by an uncomfortable number of close-ups by cinematographer Dante Spinotti. This discomfort was especially apparent in action scenes like the prison escape from the Indiana State Prison featured in the film’s opening scene , “Pretty Boy” Floyd’s death at the hands of FBI Agent Melvin Purvis, and John Dillinger’s first bank robbery featured in the film. These close-ups brought back memories of the ones featured in Disney’s ”PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL”.

But at the least the close-ups in the 2003 film were not further marred by quick editing done by Paul Rubell and Jeffrey Ford for this film. Watching their zip fast editing reminded me of those featured in movies like the last two”BOURNE” films, ”QUANTUM OF SOLACE”, both ”TRANSFORMERS” movies, ”THE TAKING OF PELHAM 1-2-3” and ”STAR TREK”. I suspect that this new editing style is fast becoming the new thing in the film industry. Personally, I hate it. I find it cheap and confusing.

I have one last complaint about the film and it has to do with David Wenham’s appearance in the film. The Australian actor portrayed Harry Pierpont, one of Dillinger’s closest friends and a mentor. Yet, he barely spoke a few words in the movie. In fact, he seemed more like a background character than a supporting one. Giovanni Ribisi had more lines in the film and his character, Alvin “Creepy” Karpis, had no real close ties with Dillinger. Why did Mann and the two other screenwriters, Ronan Bennett and Ann Biderman, bothered to include the Pierpont character in the first place? Instead of at least a minor exploration of the Dillinger-Pierpont relationship, the screenwriters reduced Pierpont – Dillinger’s mentor – to a minor character with a few lines.

Now that I have put all of that negativity behind me, it is time to discuss why I had enjoyed ”PUBLIC ENEMIES”so much. Perhaps I am being a bit too subtle. I did not merely enjoy ”PUBLIC ENEMIES”, I loved it. It has easily become my favorite movie this summer. So far. Fast editing and close-ups aside, I must admit that I admire how director Michael Mann handled the movie’s pacing. I was surprised to learn about the criticisms leveled at the movie’s running time (two hours and nineteen minutes) and especially its alleged running time. Personally, I was impressed by Mann’s steady pace. Expecting the movie to be over two hours long, I was surprised to discover that amount of time had passed when the end credits finally began to roll. Perhaps I had been so caught up in the story that I failed to notice the time. Which is a compliment to Mann’s direction . . . at least from me.

Many scenes directed by Man left me spellbound. They include Baby Face Nelson’s murder of a FBI Agent at a hotel ambush set up by Purvis; Dillinger’s press conference inside the warden’s office at the Crown Point Prison in Indiana; his escape from said prison; the FBI ‘s capture of Dillinger’s girlfriend, Billie Frichette; Frichette’s interrogation and beating at the hands of a FBI agent; and Purvis’ conversation with prostitute and brothel madam, Anna Sage.

But there were four scenes . . . actually, two scenes and two sequences that truly impressed me. The first one featured Purvis’ telephone conversation with his boss, FBI Director J. Edgar Hoover. In it, Purvis tries to convince the irate Hoover that many of their agents are not experienced enough to hunt down the likes of Dillinger and Nelson and that they need to recruit more experienced men . . . like Texas Rangers. Despite the fact that the two actors portraying Purvis and Hoover do not share the screen, the emotion between their characters crackled like flames, thanks to their performances and Mann’s direction. The other scene featured Dillinger’s arrival in Indiana by plane, after being arrested by Federal agents in Tucson, Arizona. Although brief, it struck a surreal note within me, thanks to Spinott’s photography. The cinematographer shot the entire scene with colors that projected a soft iron, mingled with a reddish-orange tint from the sun. Very beautiful.

Although I found the scenes mentioned above very memorable, I was rendered speechless by the following sequences. The first centered around the violent shootout at the Little Bohemia Lodge in Manitowish Waters, Wisconsin in April 1934. I am certain that many critics and moviegoers had ended up comparing this sequence with the famous Downtown Los Angeles shootout in Mann’s 1995 movie, ”HEAT”. Granted, the latter turned out longer and was filmed in the daytime, but this Little Bohemia shootout turned out to be just as effective and exciting, despite being filmed at night. But if there is one sequence that filled me with great satisfaction, it was the one that featured the last night of Dillinger’s life. Mann, along with Spinotti, production designer Nathan Crowley, Rosemary Brandenburg’s set designs, Patrick Lumb, William Ladd Skinner’s art direction, the screenwriters and the cast did a superb job in conveying the director’s own detailed account of that hot, July night in 1934. I, for one, was glad that Mann took his time in leading to that moment when Texas Ranger Charles Winstead shot Dillinger dead. The director gave movie audiences a glimpse of street life in Depression-era Chicago during the summertime. He also allowed the audience to experience Dillinger’s pleasure in viewing Clark Gable’s spunk and Myrna Loy’s beauty in the 1934 MGM movie, ”MANHATTAN MELODRAMA”. With the camera, the audience waited nervously along with Purvis, Winstead and the other lawmen who waited outside the Biograph Theater for Dillinger. This is one of the most detailed and marvelously shot sequences I have ever seen on film in the past decade or two.

Another aspect of ”PUBLIC ENEMIES” that struck me as unique was its style. Past movies about Depression-era criminals from the Midwest and the South like (1967) “BONNIE AND CLYDE”(1974) “MELVIN PURVIS, G-MAN”, and (1975) “THE KANSAS CITY MASSACRE” tend to have this rural or “good ‘ole boy” style, similar to movies and television shows like (1977) “SMOKEY AND THE BANDIT” and (1979-85) “THE DUKES OF HAZZARD”. These films were usually filled with a great deal of wild car chases, over-the-top acting and a Country-Western tune emphasizing the action. ”PUBLIC ENEMIES” seemed to go against this rural style. Instead, most of Mann’s Midwestern criminals are not some wild, country boys that went on a crime spree as some reaction against the Depression’s economic woes. His criminals – especially Dillinger – are professional criminals, whose experiences go back long before the first impact of the Depression. Nor is Mann’s Melvin Purvis is some long experienced “good ‘ole boy” lawman with a Mississippi Valley or Southwestern accent like Ben Johnson in(1973) “DILLINGER” or Dale Robertson in his two TV movies about the FBI agent. His Purvis is a lot closer to the real one, a South Carolinian gentleman in his early thirties, who happened to be a trained lawyer and an excellent shot. Both Dillinger and Purvis come off as more sophisticated than their portrayals featured in earlier movies. And the characters’ sophistication certainly reflected the movie’s more serious tone. Something I certainly had no problems with.

John Dillinger may turn out to be one of my favorite characters portrayed by Johnny Depp. Much has been made of Dillinger’s charm and joie de vivre . . . and Depp certainly did not hesitate to replicate it in front of the camera. One prime example of this charm was featured in Dillinger’s press conference inside the warden’s office at the Crown Point Prison in Indiana. I have seen the original 1934 newsreel featuring the famous press conference and I must say that Depp did a beautiful job of recapturing Dillinger’s actions – from the bank robber’s attitude, right down to his body language.

But there were other aspects of Dillinger’s personality that Depp did not hesitate to portray – his romantic charm that won Billie Frichette’s heart and cynical sense of humor. Most importantly, Depp’s performance reminded the audience that Dillinger had been capable of being a cold-blooded criminal. After all, he had drifted into crime long before the economic upheaval of the Depression. And Depp’s performance made that clear, whether his Dillinger was expressing fury at one colleague, whose beating of a prison guard led to the death of an old friend in the film’s opening prison break; his lack of remorse toward his many crimes, his connection to the Chicago mob; and his willingness to murder anyone who got in his way. Depp not only perfectly portrayed Dillinger as a charming and extroverted rogue, but also as a tender lover, a hardened criminal unwilling to give up his profession and if need be, a killer.

I have noticed that in the past two or three years, Christian Bale has found himself in the thankless task of portraying characters less flamboyant than his co-stars. This certainly seemed to be the case in the 2006 Victorian melodrama ”THE PRESTIGE” with the more outgoing Hugh Jackman; in the 2008 Batman sequel,”THE DARK KNIGHT”, in which his performance as Bruce Wayne/Batman contrasted sharply with Heath Ledger’s wildly chaotic Joker; and in the recent ”TERMINATOR SALVATION”, in which he seemed to be overshadowed in the eyes of many by the more overtly masculine Sam Worthington. Mind you, Bale gave superb performances in all of these films. Yet, his co-stars seemed to be grabbing most of the glory. This also seemed to be the case in ”PUBLIC ENEMIES”, in which he portrays Melvin Purvis, the FBI agent assigned to capture Dillinger, one way or the other. Whereas Depp’s Dillinger is all charm and flash, Bale’s Purvis is a resolute and educated South Carolina gentleman, who also happened to be a somewhat competent lawman determined to hunt down the bank robber by any means possible. And that included following Director Hoover’s insistence on ”taking the white gloves off” or insisting that the FBI recruit experienced Texas Rangers for the manhunt. Bale not only did an excellent job in conveying Purvis’ quiet determination in hunting down Dillinger, but the agent’s anxious fear that he may never capture the bank robber on a permanent basis. Bale also effectively portrayed Purvis’ ruthlessness in dealing with those who stood between him and Dillinger. Melvin Purvis is not a splashy role for Bale, but the latter certainly did an excellent job of portraying the lawman’s many personality facets.

Before I saw ”PUBLIC ENEMIES”, I had feared that the addition of Billie Frichette (Dillinger’s girlfriend) into the story would make her presence irrelevant and threaten to drag the film. Fortunately, Mann and the other two screenwriters – Bennett and Biderman – along with Oscar winner Marion Cotillard did justice to the Frichette character. Cotillard gave an excellent performance as a hatcheck woman who captured Dillinger’s heart. She portrayed Frichette as a slightly melancholy woman who not only resented society’s bigotry against her ancestry (her mother was half French, half –Menominee), but also feared that her relationship with Dillinger may not last very long. One of Cotillard’s best moments featured the hatcheck woman being interrogated and beaten by one of Purvis’ agents, who is determined to learn Dillinger’s whereabouts. And despite being French-born and raised, Cotillard proved that she could use a Midwestern accent circa 1933, just as well as an American actress.

”PUBLIC ENEMIES” seemed to be filled with some memorable supporting roles. And a handful of performances stood out for me. I enjoyed Jason Clarke’s quiet and subtle performance as Dillinger’s close friend and colleague, the dependable John “Red” Hamilton, who seemed convinced that he and the bank robber were doomed to live short lives. Clarke especially shone in an emotional scene in which a badly wounded Hamilton tried to convince Dillinger to stop clinging fervently to all people and things that mattered too much to him. And there was Billy Crudup (a face I have been seeing with great frequency over the past few years), who gave an entertaining and sharp performance as FBI Director and publicity hound, J. Edgar Hoover. Crudup managed to capture a great deal of the legendary director’s personality as much as possible – especially Hoover’s staccato-style speech pattern. And his scenes with Bale brimmed with a layer of emotion that made their on-screen relationship one of the more interesting ones in the movie.

Another performance that caught my attention belonged to Stephen Graham as the trigger-happy Lester “Baby Face Nelson” Gillis. I have to give Graham kudos for effectively projecting a certain facet of Nelson’s persona from both Dillinger and Purvis’ points-of-view. In Dillinger’s eyes, Graham portrayed Nelson as a trigger happy clown and bad Cagney impersonator, whose criminal skills seemed to belong to an amateur. In his major scene with Purvis, Graham portrayed Nelson as a dangerous criminal, quite capable of efficiently killing Federal agents in cold blood. And it was a pleasant surprise to see the always competent Stephen Lang as Charles Winstead, one of the Texas Rangers recruited by Purvis to assist in the FBI manhunt for Dillinger. Lang first worked for Mann in 1986’s ”MANHUNTER” and the television series, ”CRIME STORY”. Since then, he has portrayed a vast array of memorable characters over the years. In ”PUBLIC ENEMIES”, he gave another excellent performance as the stoic and intimidating Winstead, whose vast experience with criminal manhunts allowed him to act as a de factomentor for the less experienced Purvis. One last performance that caught my attention belonged to Branka Katić’s portrayal of Anna Sage, the so-called ”Woman in Red” who had betrayed Dillinger to the FBI in Chicago. Actually, Sage never wore red on the night she led the FBI to the Biograph Theater and Dillinger. But that is beside the point. Katić gave an intelligent performance as the world-weary, Romanian-born madam that found herself forced to help the FBI ambush the bank robber.

Every now and then, I eventually come across some comparisons between ”PUBLIC ENEMIES” and ”HEAT”in some of the articles I have read about the former. And the comparison usually ends in the 1995 movie’s favor. Do I agree with this assessment? Honestly, I have no answer. Both movies are superb crime dramas with a few flaws. Whereas ”HEAT” managed to capture the miasma of late 20th century Los Angeles, ”PUBLIC ENEMIES” reeked with the slightly gray aura of the Depression-era Midwest . . . especially Chicago. And whereas the pacing for ”HEAT” threatened to drag in its last hour, the quick editing and constant close-ups nearly marred the first hour of ”PUBLIC ENEMIES”. But you know what? I love both movies.  And ”PUBLIC ENEMIES”proved to be another example of why Michael Mann continues to be one of my favorite movie directors.