Director Michael Mann is the master of the musical sequence. Give him a jam, a slick car (or speedboat or private jet) and a couple bad asses with guns and you’re going to get the toughest three minutes of film possible. Sometimes he can’t be bothered to cut the song short and you’ll get more. Sure Johnny Depp is the man, yeah Christian Bale had me at “Cadillac of the sky!,” but it’s Michael Mann’s work I’m looking forward to in “Public Enemies.”
Pick an episode, any episode of Miami Vice, and you’ll find an incredible, often ground breaking use of a pop song. 2006’s feature version of “Miami Vice” was certainly less cutting edge, but Mann’s fetishistic pop music sequences of tough guys in various decadent modes of transportation were no less incredible. Not that he needs a fortune in chrome and gasoline to produce such spectacles for the eyes and ears. Need I mention Mann’s “The Last of the Mohican’s,” which to date, has not been outdone in amazing period action-set-to-music factor.
(Above: Johnny Depp totes a Thompson in “Public Enemies,” Universal Pictures).
A casual review of the composer and the music supes (and from what I’ve seen so far) raises some concern, but put together they have some genius under their belts. A couple newish TV spots don’t reveal much, just the usual summer blockbuster stuff. I don’t hear anything along the lines of a Trevor Jones/Randy Edelman collaboration, but I’ll hold out for the best.
“Public Enemies” opens July 1st.