Wednesday, July 29, 2009
Steve Kloves' screen adaptation of J.K. Rowling's Harry Potter and the Half-Blood Prince is the most streamlined film in the series yet. So streamlined, that much of the spectacle has been exorcised to make room for the complicated interrelationships of the central characters. Director David Yates demonstrates a fine grasp of nuance and tension but eventually the film begins to wear thin, culminating in a limp climax that is too little too late. Still, it's fun to witness the shifting politics of Hogwarts on the big screen. Equally fun are the scenes in which Harry, Ron, Hermione and Ron's sister Ginny get their "snog" on, wizard-style, but the real pleasure of reading the book was the central relationship between Harry and Dumbledore and to this end, unfortunately, the newest film does not deliver. In the book, Dumbledore assumes the role of a father to Harry, but we don't know why and the mystery behind his actions fills the story with a sense urgency. In the movie, they don't have enough screen time together to generate the same tension. As a result, the would-be harrowing climax (which I will not disclose) feels rushed and does not leave us with any of the lingering impact of the book. In the end the latest Potter is efficient, subtle and well-detailed, but more memorable for its smaller moments than its big ones.
Thursday, July 9, 2009
Michael Mann is fascinated with the mythic nature of society and the power struggles between men. His Public Enemies bristles with the excitement of these myths, which he celebrates through style, texture and explosions, and yet the film does little to reveal meaning behind our myths. Mann is a brilliant craftsman and stylist. Students of film will appreciate his dizzying camera and terse editing. There is life to almost every frame, especially when the cops and robbers are shooting it out, using big, loud, guns, but there is also a gaping hole at the center of the movie where there could have been so much more.
John Dillinger was a man of the people, a national folk hero during the Great Depression, known as much for his gregarious personality and charisma as his criminal efficiency. Unfortunately the three writers credited with the project (including Mann) couldn't figure out a way to work this out. Johnny Depp's Dillinger is cool, remote and sociopathic. We see nothing of the community support he worked so hard to earn. We never get a sense of the exhiliration behind his bank heists and as a result he is mainly joyless to watch.
This Dillinger takes pleasure in nothing except for his 'moll' Billie (Marion Cotillard), who is either drawn to his charisma or threatened by his ruthlessness. Either way, she's along for the ride. Their romance is the only beacon of humanity in the film but it has no weight or credibility. Most of the time Dillinger just floats through scenes like a badass automaton.
Fighting for the other side is Agent Purvis (Christian Bale), a stoic and meticulous lawman who leads the manhunt for Dillinger. Their cat and mouse interplay never really catches fire. Mann is too preoccupied with the manly bravado and macho posturing of his leads, to dig beneath the surface as he did so brilliantly in Heat. There isn't a single scene that shows us Purvis in his private life outside of the job, and if there had been his epigraph might have had impact.
What ultimately makes the film work is the crackling soundtrack and the ending. There's something profoundly unsettling about the way the manhunt for Dillinger comes to a close. Public Enemies may be the first gangster film in which the villain is gunned down and somehow the police come off as the guilty ones. If only the writers had worked a little harder to bring us to this point. Like so many recent and inscrutable movie protagonists (think Benjamin Button or Harvey Milk), this Dillinger drifts through history without actually impacting it. As a consequence, you may leave Public Enemies remembering the sound of the gunfire more than anything else, but what dazzling gunfire it is.