[The News Bot]

Reviewed by Chris McEneany, 5th November 2009
A film that split the camp. Critics loved it, audiences seemed largely indifferent. Me? Well, I loved it … but with some reservations. Depp is as brilliant as ever, Bale is better than I've seen him of late, but still adhering to the “no-smile, no-charisma” mode of acting that he has been increasingly emplying. The action is furiously superb and the evocation of the height of the Depression Era is nigh-on faultless. But there is still something missing. The romance between Dillinger and Frechette doesn't convince and, most maddeningly, the dialogue written for Depp is too often contrived and clichéd, and we just don't care enough about Purvis and his crusade. But, hey, I still thoroughly enjoyed it and was gripped by the churning, remorseless drive towards a destiny that Dillinger, himself, seemed aching to meet.

Mann's decision to use the music of the period as well as a deeply poignant orchestral score from Elliot Goldenthal was a fine and character-enriching one, and the brooding combination of psychologically dark introspection and sometimes rip-roaring big band bombast, glass-tinkling blues crooning and upbeat jazz that resulted is strangely moving and beautific. I know that many score-fans will think this album nothing more than cheat, with scant material on it that is actually composed by Goldenthal, but this remains a beguiling experience, just the same, since the songs and the original score complement one another perfectly in an atmospheric dust-storm of myth and emotion. Like the film, it may take a couple of sessions before its innate mood fully permeates, but the rewards are worthwhile, in my opinion.

Plus, it is nice to review a score CD that isn't horribly limited in release, for a change. Public Enemies is widely available, folks.


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