“Johnny D.“ who you are, Mr. Dillindzher?
Movies about gangsters - a traditional American genre. In a genre there are two accurate directions - actually cinema about gangsters and about guys who put them on the way true. The brightest representatives of the first branch are the trilogy “Godfather“ of Francis Ford Coppola and “In once America“ Sergio Leon. The second - “Untouchable“ Brian De Palma and partially “Secrets of Los - Andzheles“ Curtice Hanson. Partially, because all this is the City of Angels of a sample 50 - x, but not Chicago of times of “Prohibition“.
What dear director and the screenwriter Michael Mann tried to make deeply by me? At once two things if to be exact. In - the first, he clearly and barefaced tried to repeat the, meanwhile the best for today, the movie “Fight“ (Heat, 1995). In - the second, he decided to connect together both directions of a genre and to shoot film both about ours, and about yours. To add plus to a heap it is a little history of creation of FBI (the tape was removed including according to the reference - Brian Barrow`s book “Enemies of society: The largest wave of crime in America and the birth of FBI). Whether it managed to Mann to make it? Unfortunately not. More precisely, absolutely not. To repeat former progress, to succeed creatively on a field of classical characters.
John Dillindzher - a cult image in criminal history of America. “Johnny D.“ is already 17 - y on the account the movie where his name appears. The first time life of the famous robber of banks was picturized already 11 years later after his actual death, in 1945. And since then the image newly appeared Robin of Goode haunts cinematographers. Both Warren Oates, and Martin Kouv, and even Martin Shin managed to act as Dillindzher (“Dillindzher and Capone“, 1995).
From the point of view of a plot, Mann rather softly managed with the real facts. By itself, did not do without cinema conventions, but in general the scenario kept all main milestones of the biography of the criminal. Both escapes from prison, numerous robberies of banks, the affair with Billey Frechet, court in Indiana, a stir in “Small Bohemia“ and, by itself, the classical final of his short, but bright life - death at Biograf movie theater after viewing of “The Manhattan melodrama“. Authors of the movie, of course, did not fail to embellish a few events, but it is a little. In particular, creators of the movie paid much more attention to Dillindzher`s girlfriend - Billey`s cloakroom attendant though the robber was not so sentimental and changed girlfriends rather often. Well and it is natural, entered the main hero, the agent Melvin Pervis with whom opposition had to become the central core of all history into a picture. But did not become.
What unambiguously was not pleasant? Excessive melodramatization. It also is clear, it is Hollywood, it is marketing. Just existence in Johnny Depp`s picture you will not entice female audience into movie theaters. The integral love line with all that it implies - acquaintance, restaurant, a bed, love - carrots, desire to grow old together and to live happily, well and destiny - a razluchnitsa, tears, snivels and other urgent elements is necessary. Old times Mann unexpectedly succeeded in it, having given a considerable share of screen time to any romantic experiences that, in general, did not do a tape good. But executed the marketing role.
It is impossible to blame the director for attempt to repeat the success 15 - summer prescription. Eventually, it is better to seek for repetition good, than for stamping of dull hand-made articles. But for this purpose it is almost not enough to copy completely a plot and the main finds of “Fight“. It was for this purpose necessary to recreate the atmosphere of that movie. I do not argue, from time to time it even turned out. But these moments can be counted on fingers of one hand. Or to lay 20 - 25 minutes of screen time. That at the general duration of the movie in 140 minutes - critically it is not enough not to force the viewer to miss and to look periodically for hours.
“Fight“ was larded by action. In “Johnny D.“ only one rather big (about 10 minutes) an action - a scene in “Small Bohemia“. The beginning - an escape episode, and, by itself is not bad removed, the final which does not indulge action, but is perfectly mounted, in a company mannovsky manner. Only in these three scenes of the movie the director could show the true, live style. For the rest the next screen version of adventures of Dillindzher represents a sad gangster popular print.
The uneven portrayal of the main character irritated. Johnny Depp played, as usual, perfectly. To it there are just no claims. Thank God, in its game the captain “Jack - Vorobey“ did not look through. But some subject courses, especially those which are urged to show what the nice fellow was John Dillindzher, honestly to admit, bring into bewilderment. Not to mention two absolutely idiotic episodes - the moment of arrest of Billey and Dillindzher`s walk in broad daylight on a police station in Chicago.
At all also Christian Bale did not strike. In total - he is not ready to fight for leading roles as equals yet. “Support“ of superstars - whether it be Russell Crowe, Heath Ledger or Hugh Jackman is still necessary for it. And this with the fact that as the actor, Bale will give odds to many present “stars“ including to Sam Uortingtonu with whom he together worked on fourth “Terminator“.
And in general the cast of each new movie of Michael Mann impresses. In this case, besides already mentioned Depp and Bale, are engaged in a picture: James Russo, David Uenem, Stephen Dorff, Channing Tatum, Cari Malligan, Emilie de Reyvin, Billey Crudup, Marion Kotiyyar, Giovanni Ribizi and Stephen Lang. As the director over and over again manages to receive a consent of so many celebrities, unclear. Let`s hope, relative failure with “Johnny D.“ will not change this tendency.
Summary: the Movie will fully not be able to please either admirers of talent of Mr. Mann, or fans of a genre. It is too much melodrama, it is not enough action. Nevertheless, unlike Ancient Greek characters, American “heroes“ Hollywood honors more carefully and does not allow excessive distortion of historic facts.