Friday, July 3, 2009

by Ari

So a lot of people out there are complaining about Michal Mann's use of digital photography for Public Enemies, as if he did something that's not allowed.

What, exactly, should the film look like then? Whether you like digital filmmaking or not, where is it written down that all period films have to be shot and presented a certain way? It's like saying Tetro shouldn't be black and white because most movies are color now. And why are Mann's aesthetic choices for Public Enemies so confusing to people? To me it felt like he went back in time with a digital camera and recorded the Dillinger phenomenon with visceral, immediate access. I'm pretty sure this choice was intentional.

Anyway, I haven't been this impressed with a Michael Mann film since The Insider, and I thought the last 30 minutes were profound and beautiful without forcing the issue. Sensational work.