片名：公众之敌 Public Enemies
更多中文名：公敌 大犯罪家
导演： 迈克尔·曼
主演： 克里斯蒂安·贝尔 约翰尼·德普 玛丽昂·歌迪亚
类型： 剧情 / 犯罪
国家/地区： 美国 
类型： 剧情  /  犯罪 
片长：143 min
分级： USA:R
对白语言： 英语 
发行公司： 环球影业
上映日期： 2009年7月1日  美国

剧情简介

上世纪三十年代的美国，经济大萧条之下，众人人心惶惶，不知何去何从，而这样动荡的时代之下，一些胆大妄为的人开始用他们的手段来与整个社会抗衡。一位名叫约翰•迪林格（约翰尼•德普饰）的男人出现在公众的视野当中，他赖以成名的事迹则是在光天化日之下抢劫银行，一时间成为经济大萧条时期风头最劲的犯罪分子，而约翰•迪林格本人则被美国政府列为全国通缉的一号公敌。对于新上任的FBI局长胡佛（比利•克鲁德普饰）来说，抓捕约翰•迪林格具有重大的意义，因此他将此案件列为了头等大案，并且成立了以茂文•普维斯（克里斯蒂安•贝尔饰）为主的专案组。

约翰•迪林格深知一个人的力量还无法和一个政府对抗，于是他和另外几个臭名昭著的劫匪一起拉帮结党，其中有别名“娃娃脸”的尼尔森（斯蒂芬•格拉汉姆饰）、别名“漂亮男孩”的弗洛伊德（查宁•塔图姆饰），以及他的情人比莉•弗雷凯特（玛丽昂•歌迪亚饰）。一行人不但没有被政府的通缉而吓倒，反正更加变本加厉的抢劫银行，与警察在街头展开数场战，虽然茂文•普维斯几次都提前接到线报，安排好布控，但每次约翰•迪林格都能奇迹般的逃脱警察的追捕，而且最终他被抓捕归案，却依旧能在同伙的帮助下成功越狱。他为了躲避通缉，还给自己做了一个小小的整容手术，以致于可以瞒天过海，而自信满满的约翰•迪林格，在整容之后公开的居住在了芝加哥闹市中，甚至还搭上了一个刚离婚不久的漂亮少妇波利•汉米尔顿（莉莉•索博斯基饰），两人很快打得火热。

不过，约翰•迪林格的整容术似乎并未逃脱汉米尔顿的房东安娜•萨奇（艾米莉•德瑞文饰）的法眼，在这位中年女人看来，约翰•迪林格的真实身份对她有着极大的价值，因为这可以让偷渡到美国的她换取一个合法的居住身份。于是安娜向茂文•普维斯报告了这件事，而一直在为着追寻约翰•迪林格下落而头疼的茂文•普维斯突然得到这样的消息，自然欣喜若狂。他很快摸清了约翰•迪林格的行踪，准备将以约翰•迪林格为首的一行人一网打尽。而约翰•迪林格其实早就注意到了警察的动向，他也给警察准备了一件意想不到的礼物……

幕后制作

又一部盗火线？

对于热馅爱战动作片的影迷而言，1995年那部由阿尔•帕西诺与罗伯特•德尼罗共同主演的《盗火线》一定是无法忘却的经典，而这部堪称教科书级的犯罪题材电影，其导演正是迈克尔•曼。在经历了十数年的起起伏伏之后，迈克尔•曼再次拿起了他拿手的双雄对峙与银行劫案题材，对于这部名为《公众之敌》的新作，迈克尔•曼说：“其实我并不想重复自己已经拍摄过的题材，但是我的朋友和影迷们也常常在私下聊天时和我提起，他们很喜欢《盗火线》，认为这类题材的故事性极强，而且很有那么一股邪气。老实说，对于抢劫银行这种故事，现实里有着很多惊人的真实案例，而《盗火线》却基本都是臆想虚构的，这是我比较遗憾的一点，我也一直想拍摄一部构建在真实事件上的银行劫案电影。而当制片公司向我提议，是否有兴趣将布赖恩•布罗的书里一段上世纪的故事改编成电影时（书即《社会公敌：美国最汹涌的一波犯罪浪潮及FBI的诞生，（1933年－1934年）》，我知道这件事变得可行了。”

与迈克尔•曼联手编剧的是安•白德曼，他之前曾编写过《一级恐惧》等类似题材，对于《公众之敌》的故事，安•白德曼说：“我们起先参考了很多那个时候的书籍，随着现在解密档案的逐步增多，很多那个时代的事正在逐渐被还原，所以历史也变得越来越清晰。我和另一位编剧罗兰•本奈特花了好几周的时间泡在图书馆和互联网上，寻找当年的资料。最初确定下来的故事是两条主线，一条是以约翰尼•德普饰演的约翰•迪林格为主，另一条则是联邦探员为主，约翰•迪林格的事迹在很多书籍上都已经写过，但究竟联邦探员在追捕约翰•迪林格的过程里是如何的，又有多少细节和故事值得阐述呢？这就是我们在撰写剧本时考虑的重点。”

迈克尔•曼在执导的同时也是本片的编剧之一，对于最终确定下来的故事，迈克尔•曼说：“我有意识的借鉴了《盗火线》的一些元素，虽然两部电影的背景并不一样，但我觉得观众会喜欢上某种我惯用的手法。在《公众之敌》里的主角故事，并不会像《盗火线》那样，我们更多的着力点是讲述约翰•迪林格的这起案件究竟对着当年整个美国社会有着怎样的影响，所以我们会交代很多政府的故事，我可以保证的一点是大部分影片里发生的情节都是有据可查的。”

两大男星对峙银幕

主演《公众之敌》的两位男主角都是近年来银幕上风头正劲的演员，扮演约翰•迪林格的是约翰尼•德普，在经历了杰克船长和与蒂姆•波顿的多次合作之后，他再次选择了一个反派角色，对于《公众之敌》，约翰尼•德普说：“这部电影让我想起《理发师陶德》，他们都是属于过去时代的人物，而且他们都是让当年那个时代的人恐惧的罪犯。只是《理发师陶德》显得非常的蒂姆•波顿化，那部电影充满了蒂姆•波顿个人的风格与幻想，而《公众之敌》则是一部很严肃、很正式的犯罪题材电影，当我穿上黑色风衣，戴上礼帽的时候，我就已经融入了迈克尔•曼导演所营造的那个犯罪世界。”

对于另一位主演克里斯蒂安•贝尔而言，去年《黑暗骑士》的大热与《终结者2018》的宣传造势，都使得其成为近期影坛的焦点人物，而这部新戏里克里斯蒂安•贝尔的看法是：“我很少能扮演《公众之敌》里的这类角色那种一根筋的人物，他是一个很单纯的警察，为了抓到约翰尼•德普而努力，并不会有其他什么黑暗的一面或者犹豫，这个角色是一种象征，为了肃清当年混乱不堪的社会而给人民的信心，社会其实是需要这种人的，尤其是在那个特殊的年代。我很喜欢迈克尔•曼导演，他的影片里那种剑拔弩张的敌我对峙让我很着迷。”

花絮

•本片于2004年开始筹备，当时挑选饰演约翰•迪林格的演员是莱昂纳多•迪卡普里奥，不过后来因为莱昂纳多•迪卡普里奥并不愿意出演本片，最终约翰•迪林格的扮演着替换为约翰尼•德普。
•影片中约翰•迪林格对银行客户有一句对白，“现在银行里的钱，并不属于你。”这句话最初出自本片导演迈克尔•曼于1995年拍摄的《盗火线》，而对白也是由片中的反派罗伯特•德尼罗说出。
•本片拍摄的时候被编剧罢工所波及，影片拍摄时间被迫延长，而两位主演约翰尼•德普和玛丽昂•歌迪亚都为本片推迟了其他工作，如约翰尼•德普主演的电影《山特拉姆》就延期到2011年，玛丽昂•歌迪亚的原定于2008年公映的歌剧也推迟演出。

Public Enemies: Movie Review By Joe Lozito

You have to say one thing about Michael Mann, he's consistent. The director of "Thief", "Collateral" and "Miami Vice" always approaches his films with exceptional style, typically at the expense of substance. With "Public Enemies", his John Dillinger biopic, Mr. Mann again displays his love for the extreme close-up, deep focus, and really, really loud gunshots. He also continues to have no truck with an establishing shot. And, as he did in his De Niro-Pacino epic "Heat", he again takes two powerhouse actors (Johnny Depp and Christian Bale) and teasingly drops them in a film in which they barely meet. It could be argued, in fact, that Depp and Bale are the De Niro and Pacino of their generation (which one's which? Discuss!), but that's a different story.

In "Enemies", Mr. Depp gets the more flashy role as Dillinger. One of those "gentleman gangsters", he specializes in robbing banks but he never steals from the customers, only from the safe (uh, John, whose money do you think's in there?). After he takes a woman hostage, he'll give her the coat off his back if she's cold. Mr. Depp could play this role in his sleep: charisma, knowing smirk and slightly odd accent - all firmly in place. Though he doesn't possess the physical heft of the legendary criminal, he more than makes up for it in star power.

Mr. Bale has the less enviable role of straight man. He plays Melvin Purvis, Eliot Ness to Dillinger's Al Capone. But Purvis's men are no Untouchables. With the fledging FBI yet to get off the ground (headed by Billy Crudup as a pitch-perfect J. Edgar Hoover), Purvis is stuck with untrained "G-men" who make it clear why Dillinger was able to run free all those years. www.130q.com

When the film opens, it's 1933, and Dillinger and his gang are already at the top of their game; they can knock over a bank in two minutes flat. During one celebratory meal, Dillinger spies a young brunette at a table. She turns out to be Billie Frechette (Marion Cotillard from "La Vie en Rose"), a coat check girl who becomes Dillinger's lady love. Erring on the side of myth-making, the film ignores Dillinger's first marriage, as well as his other girlfriends, and paints Billie and John as two lost souls clinging to each other in an unfair world. It doesn't quite work. Ms. Cotillard and Mr. Depp provide the requisite chemistry, but we never find out why these two were meant for each other (aside from the initial physical attraction). Likewise, we learn little about why Dillinger turned to a life of crime in the first place (he's given one great monologue about his upbringing) or how he formed his gang of (faceless, interchangeable) cronies. Mr. Bale's Purvis, meanwhile, is at best a cipher.

As is often the case, Mr. Mann seems less interested in what makes his characters tick and more interested in creating atmosphere. And there he succeeds greatly. "Enemies" feels more like a snapshot of this moment in history than a biography. Mr. Mann's integration of organized crime and the early days of the FBI shows promise, as does the knowing nod at "enhanced interrogation" and the Depression era setting. But it's all kept at arm's length. The weak script - which Mr. Mann co-wrote with Ronan Bennett and Ann Biderman - plays fast and loose with certain events and makes a Hail Mary attempt at poetry in the final moments. But nothing in the film has earned that finale. It's a pity, since the visual storytelling is masterful - as you'd expect, there's a lot of Tommy Guns and an excellent car chase sequence. The deeply saturated hi-def cinematography and Mr. Mann's own unique camerawork keep the film riveting for its two-plus hour running time.

There have been several Dillinger biopics over the last century (starring everyone from Lawrence Tierney to Mark Harmon) and there is certainly an interesting story to be told here, but this may not be it. I often wish Michael Mann spent as much time crafting a script has he does a camera shot, but I'd never begrudge this talented director his style. That would be the real crime.