Imagined of being able to backwards travel in the time carrying with you one 
of the best high definition camera available on the professional market and, once joints in years 30’s, to begin to resume the moments and vivid colors of those times. Public Enemies written by Michael Mann, Ronan Bennett and Ann Biderman is drawn from bestseller of Bryan Burrough (the Italian edition published by Sperling Kupfer) and narrates of a country, the States, during the crisis of `the
29, while the bands of brave cold blood’s gangster running with fast car for the cities roads armed of powerful and automatic weapons ,heisting banks and destroying keeping books loans like modern Robin Hood. These will be destined to be confronted with the reaction of Washington and baby FBI with to head a young person and unscrupulous director, Edgar J.Hoover (Billy Crudup) and agent Melvin Purvis (a stoic Christian Bale). A epic as well as bloody-thirsty crash that will carry icone of the imaginary US collective like the nobleman John Dillinger (Johnny Deep with an interpretation that goes beyond the reliability of the personage), Pretty Boy Floyd (Channing Tatum) ; Baby Face Nelson (Stephen Graham) behind the slabs or often with their name carved over a tombstone. There is not a nostalgic translation of the facts but the search of the authenticity, of the realism meant also like a refusal of the subjects of conventional beauty (but Polly Hamilton interpreted from Leelee Sobiesky and Marion Cotillard in the role of Billie are both splendid) and of every idealization in favour of a more pragmatic approach, often with an accent on the humble life or the quotidianity, with nearly documentaristic resumptions, for being able to us to render tangible which we are observing.
This is the type of concept HD avant garde of sonorous visual authenticity/(powerful and defined sounds effects .45 ACP Tommy Gun included) and novellistic to which Michael Mann, collaborating with Dante Spinotti, it has intentional join for Public Enemies; the dosed use of the classic conceptualized lighting system, typically named Hollywood’s Lighting, that it sees the use of powerful Beebe 
Night Lights for the nocturnal ambush to the hut of Little Bohemia in the forests of the Wisconsin for giving priority to the use of the practical natural light/already existing in location and available for that determined scene; being full of nocturnal scenes of action, the conceptual key for this film is given by reading of the shadows from the support types as high definition, totally and positively different regarding if compared to film and this has allowed a dynamic use of the filmic grammar obtaining a modern film with hyper realistic look that does not get lost in romantic classicism and that it succeeds to conserve solid Manns trademarks beginning from the use of music, symphonic and ambient score by Elliot Goldenthal, music and use of the music that removes the breath for how much guessing, as it always happens in all the works of Michael Mann and that I have already wide dealt. Bravo and expert Italian director of photography Dante Spinotti to its fifth hard work with Michael Mann (Manhunter,the Last of the Moichans, Heat and The Insider) composing the film in format 2.40:1 has used for Public Enemies HD camera Sony F23, excellent for sharpness and depth of field (but also the F950 model with T950 adapter) in coupling to the small (but great) Sony EX1 for inner resumptions happened inside of car, using on these supports Lenses Zeiss Digiprimes and zoom Fujinon HAe10×10 (T1.8), while for any scenes shot in super 35mm with film Kodak Vison 3 500T 5219 has been used film cameras ARRI 435, 235 with the splendid optical Cooke S4 nearly to give a tribute to the past of Manhunter – “With digital cameras, there aren’t any steadfast rules, and I believe that gives me a huge amount of freedom,” he concludes. “The medium is romantic, interesting and beautiful, but it also looks real. And there’s so much you can do in post! Film has a certain kind of quality that cannot be matched by digital technology, but at times, the advantages digital has over film are important for the language and the contents of the story you’re telling, and that determines your choice.
Goes to to Colleen Atwood (already costume designer in Manhunter)the task ,does in excellent way because it becomes woven novellistic, to dress the personages of this film, sons of a casting at least fabulous: concept can be condensed with the face of the characther of Charles Winstead (interpreted from Stephen Lang). The production design, carefully splendid, are by Nathan Crowley (Dark Knigh,Batman Begins, Escape from L.A.) while in phase of pre-production the research work in location sees engaged, like always, Bravo photographer Gusmano Cesaretti that is also in dresses of Co-producer. There is who has compared Michael Mann to an author who prepares itself as Rembrandt and executes like Picasso others like Caravaggio that then is transformed in a Kandinsky, but what is the painting if not the main source through the cinema expresses itself visually? Interesting and true concept because in observing some of they works I have understood the visual process of Michael Mann. A visual and novellistic course ,that one of Mann,made by a identification’s cinema (the scene of the Biograph Theater is a magum opus), revoluzionized with ALI, stilized from Collateral and Miami Vice where Hi Def is contemporary phenomenon, witness of the change of our way to frame(shot) the images and transported in years 30’s it works to the perfection and that clean our preconcept been born from the repertory of sgranate, dirty images, sometimes sepia or black white images (than Mann it cites with a editing game during the scene of the extradition in Indiana), and far away from the reasoning that who it has lived those times and places has lived them to colors and in the high definition of our eye.
Posted in Cinema, Dante Spinotti, Johnny Deep, Michael Mann, Movies, Soundtracks, art, cinematography, entertainment, enterteniment, photography
Tags: Christian Bale, Dante Spinotti, F23 Sony, Johnny Deep, Michael Mann, Public Enemies
