Public Enemies (2009) is a gripping crime drama directed by Michael Mann, known for his meticulous attention to realism and atmospheric storytelling. Based on true events, the film portrays the final years of the notorious bank robber John Dillinger and the intense manhunt led by FBI agent Melvin Purvis.
Detailed Summary
The Rise of John Dillinger
Set during the Great Depression, the film opens with John Dillinger (Johnny Depp) breaking his partners out of the Indiana State Penitentiary in 1933. From the start, we see Dillinger’s charisma, efficiency, and boldness. He quickly resumes robbing banks with his gang, emphasizing that he’s “not here for your money — just the bank’s.”
His audacious robberies turn him into a folk hero for many Americans struggling during the Depression. To the public, he’s a modern-day Robin Hood. To law enforcement, he’s Public Enemy Number One.
The Formation of the FBI Task Force
Enter Melvin Purvis (Christian Bale), a disciplined and relentless FBI agent handpicked by J. Edgar Hoover (Billy Crudup) to capture Dillinger. Hoover is building his new federal agency and sees Dillinger’s capture as the perfect opportunity to establish the FBI’s credibility.
Purvis initially struggles, losing several agents in failed attempts to capture Dillinger. However, with new recruits and advanced technology like wiretapping, the FBI slowly tightens the net.
Dillinger and Billie Frechette
One of the film’s emotional anchors is Dillinger’s relationship with Billie Frechette (Marion Cotillard), a coat check girl he meets at a restaurant. Despite his criminal life, Dillinger falls deeply in love with her and insists she live a life of luxury while he continues robbing banks. Billie becomes a symbol of normalcy and affection in his chaotic world.
Their romance is sincere but doomed. The FBI eventually arrests Billie to lure Dillinger out of hiding, and her interrogation scenes reveal both her resilience and the cruelty of law enforcement methods at the time.
The Decline of Dillinger’s Empire
As the 1930s progress, the tides turn against Dillinger. The FBI grows more organized, his trusted partners are killed or captured, and he’s forced to rely on increasingly reckless criminals. His alliance with Baby Face Nelson (Stephen Graham) highlights the shift — from strategic, professional heists to desperate, bloody shootouts.
One of the film’s standout sequences is the Little Bohemia Lodge raid, where a shootout between Dillinger’s gang and Purvis’s men erupts in chaos. Dillinger barely escapes, but the gang suffers heavy losses, including Nelson, who is later killed in a violent chase.
Movie Ending
After Little Bohemia, Dillinger’s days are numbered. Constantly on the move, he grows weary and disillusioned. Billie is imprisoned, and the once-romantic outlaw realizes he has nowhere to go.
In Chicago, Dillinger reconnects with a few old associates and even visits a theater showing Manhattan Melodrama, a gangster film starring Clark Gable — an ironic choice, given its parallels to his own life. Unknown to him, his girlfriend’s friend, Anna Sage (Branka Katić), has betrayed him to the FBI to avoid deportation.
On July 22, 1934, agents led by Melvin Purvis surround the Biograph Theater. As Dillinger exits the cinema with Anna and another woman, he senses something is wrong. He tries to flee through a nearby alley but is shot several times by federal agents. He dies almost instantly, collapsing in front of the theater as crowds gather.
Purvis, standing over his body, feels no triumph — only the somber reality that the chase is finally over. Later, he visits Billie in prison to tell her that Dillinger’s last words were about her, providing a bittersweet sense of closure.
Dillinger’s death marks the symbolic end of the “public enemy era.” Hoover, having used the case to elevate the FBI’s reputation, continues his rise to power, while Purvis eventually resigns, disillusioned by the Bureau’s methods.
Are There Post-Credits Scenes?
No, Public Enemies does not have a post-credits scene. The film concludes definitively with Dillinger’s death and a short epilogue noting the fates of key characters.
Type of Movie
Public Enemies is a biographical crime drama and period thriller. It mixes historical realism with stylish cinematography, focusing on human emotion and moral complexity rather than pure action.
Cast
- Johnny Depp as John Dillinger
- Christian Bale as Melvin Purvis
- Marion Cotillard as Billie Frechette
- Billy Crudup as J. Edgar Hoover
- Stephen Graham as Baby Face Nelson
- Giovanni Ribisi as Alvin Karpis
- Channing Tatum as Pretty Boy Floyd
- Stephen Lang as Charles Winstead
Film Music and Composer
The score was composed by Elliot Goldenthal, blending haunting orchestral elements with period-appropriate jazz and blues. The soundtrack also features classic songs like “Ten Million Slaves” by Otis Taylor, enhancing the film’s gritty Depression-era mood.
Filming Locations
- Chicago, Illinois: Many real locations from Dillinger’s life, including the Biograph Theater, were used for authenticity.
- Wisconsin (Little Bohemia Lodge): The real site of the historic shootout.
- Los Angeles & California sets: Used for 1930s-style cityscapes.
Michael Mann’s decision to film at actual historical sites gives the movie a tangible sense of realism.
Awards and Nominations
While not a major awards contender, Public Enemies received critical praise for its production design and performances. It was nominated for:
- Best Art Direction at the Satellite Awards
- Best Actor (Johnny Depp) at various critics’ associations
Behind the Scenes Insights
- Michael Mann insisted on using digital HD cameras instead of film, giving the movie a hyper-realistic look that divided critics.
- Johnny Depp visited Dillinger’s hometown and spoke with historians to understand his personality.
- Marion Cotillard practiced a Midwestern accent and spent time studying 1930s mannerisms.
- The Biograph Theater scene was filmed at the actual location where Dillinger died.
- Christian Bale trained with real FBI agents to understand Purvis’s methods.
Inspirations and References
The film is based on Bryan Burrough’s nonfiction book, Public Enemies: America’s Greatest Crime Wave and the Birth of the FBI, 1933–34. Mann’s adaptation focuses less on the full crime wave and more on the personal duel between Dillinger and Purvis.
Alternate Endings and Deleted Scenes
Some deleted scenes focused on Dillinger’s early prison years and Hoover’s rise to power, but they were cut for pacing. An extended version of Billie’s interrogation was filmed, showing more brutality, but it was toned down for theatrical release.
Book Adaptations and Differences
In the book, the FBI’s failures and internal politics receive more attention, while the film concentrates on Dillinger’s psychology and his mythic status. The book also portrays Dillinger as more pragmatic, whereas Depp’s portrayal leans into romantic heroism.
Memorable Scenes and Quotes
Key Scenes
- Dillinger’s stylish prison break at the beginning
- The Little Bohemia Lodge shootout
- Dillinger’s calm walk through a police station that has his own “Wanted” posters
- His final moments outside the Biograph Theater
Iconic Quotes
- John Dillinger: “We’re having too good a time today. We ain’t thinking about tomorrow.”
- Melvin Purvis: “We’re gonna get him.”
- Dillinger to Billie: “Bye bye, Blackbird.”
Easter Eggs and Hidden Details
- The real Biograph Theater sign used in filming is historically accurate, down to the light bulbs.
- The FBI headquarters scenes were modeled on Hoover’s actual office.
- Dillinger’s “favorite gun” in the film, a modified Colt 1911, was based on a real weapon he used.
Trivia
- Michael Mann previously directed Heat, another cat-and-mouse crime epic, and many fans see Public Enemies as its historical counterpart.
- Johnny Depp reportedly became emotional while filming Dillinger’s death scene at the real location.
- Several extras in the movie were descendants of people who had known Dillinger.
Why Watch?
Because Public Enemies is more than just a gangster movie — it’s a story about the end of an era, where charisma and rebellion clash with authority and modernization. It’s beautifully shot, well-acted, and steeped in melancholy and style.
