DTS-Phile | The sound film in High Definition | Blu-Ray, DVD, film

S YNOPSIS

Based on the true story by John Dillinger, a bank robber that hit unparalleled many times in America in the 30s. Advanced as "public enemy number one" by the boss of the FBI, J. Edgar Hoover, Dillinger will be hunted tirelessly by Melvin Purvis, one of the most effective federal agents.

PRESS

Public Enemy No. 1 at the time of the creation of the FBI, John Dillinger was so marked that the Federal Bureau figure which its members practice firing is his.

Public Enemies counted 114 different designs, in which it is possible one of 20 vehicles "stars", and from 1000 to 1500 cars "atmosphere" used.

To be as accurate as possible, Michael Mann has used the services of the FBI, to obtain such documents for Dillinger and other cases, as well as furniture and antique accessories.

For this film, Michael Mann has used two new HD cameras: "This allowed us to be very close to the actors' faces while working with long lenses," explains the director. "The viewer has the sense of watch live on stage, lit realistically and usually filmed in two axes simultaneously in opposite to capture close-up the protagonist and his cohorts. "

Theatre of a violent confrontation between the band John Dillinger and FBI agents, the Little Bohemia Lodge is now a restaurant. One change that has led the team to work very carefully in order to restore its original look with a place that still bears traces of armed clashes that took place there: broken windows, walls riddled with bullets in the left luggage haste by the gang ...

Also a musician, Johnny Depp has largely contributed to the development of the soundtrack and Public Enemies for Michael Mann has unearthed some treasures of the blues. Among his discoveries included Ten Million Slaves of Otis Taylor, appearing in the trailers, has truly become the anthem of the film.

CODEC VIDEO: VC-1
1080p
FORMAT: 2.23:1
BITRATE: n / a
Universal, France, Availability: November 24, 2009

Universal offers us a spectacular image quality at all points clear and detailed. The film was shot using High Definition cameras, the filmmaker is one of his most loyal defenders, unable to return to a disappointing result, these types of cameras is naturally dedicated to restitution in 1080p even more ... . To the credit of this edition, very many positive elements can indeed be worn: a detailed image at will (three close-ups will remember all your attention as they breathe the HD and show a level of detail tetanizing of truth), an exhibition sculpts the ambient light and this in all circumstances, a color palette to fit situations, ranging from shades of dull blue and other, more aggressive and ocher on their color temperature. The encoding VC-1 performs wonders, serving the least transition, restoring the slightest fluctuations and stylistic camera movements in the shoulder with an extraordinary brilliance. Sensational, often, the image here flirts with the maximum of what is possible on Blu-Ray.

However, for many, many reasons, you will be very likely to be deeply disappointed by what made it so distinctive, singular. Starting with the inherent granularity of shooting conditions and aesthetic choices (aesthetes?) The filmmaker and his cinematographer, Dante Spinotti. 75% of the film bathes in a dark indeed for the tenacious and less deep, that shooting in HD just to return substantially in conformity with the aesthetic now accepted. Noisy, trembling, fleeting, restless and somewhat pleasing to the eye (the point of generating lines on the display), the picture varies so annoying and has made a faded, limp and without a place. There is no question of a default encoding or master, but the refund of gross stripping an artistic intention which bathes the film Mann for several years already. This denial of surface polishing, close nonsense, can indeed be conceived as a stopgap technology for the return of the coldest objectivity settings and situations. A form of neo-naturalism technique that requires his presence so haunting and, by force, has become a modus operandi typical intra-specific filming filmmaker. These proposals writing / visual rendering not leave anyone indifferent ... In stark contrast, the scenes shot in outdoor splash the record of finishing their degree in the extreme: edges cut with a scalpel, dazzling brightness, dynamic video and incendiary. All necessary as it is possible to see better on a screen, with a depth of field Dante, and alertness displayed near the anthology. Some backgrounds are being marred by the simplifications made, mostly readable in the exhibition, which gives background see the images that appear from a digital camera which would be missing a serious array of pixels ...

DTS-HD Master Audio 5.1: English
French DTS 5.1 mi flow, Spanish and Italian
24-bit, 48 kHz (not verified)
OFFSET: n / a
BITRATE: n / a

Before everything else, note the absence of offset (normalization of dialogue), and the absence of réégalisation from the publisher. The 24 Bit definition are intact. The mixing of the film was in theaters, and French version, an important part of the film's success. Many spectators were surprised by the richness and density of the soundtrack, the impact of his innumerable shots. Particularly aggressive, the soundtrack was needed as a true exercise in style. We were naturally curious to discover it on Blu-Ray, no compression applied as close as possible to the studio master. The results always surprise as much, but we ask from the outset, very significant reserves ... No worries, initially, at the frequency response: spectral rendering shows himself open and detailed, never stuck in a game / static band. Travel spectral rendering are very large, with acute open and expansive, detailed, and a very low register properly explored, even in the exploitation of music. Overall, the film still sounds detailed and impinging, and suffer from almost any form of compression. The first reservation concerns the spatial rendering of dialogue: large fluctuations in level (volume and presence) were detected, which, over time, generates a feeling of failure on blatant. Some are clear, others totally suppressed or inaudible. These events take place from one moment to another, without warning. Is this a default master, or an effect of pasting style roughness chaotic images? The film's dialogue does not constitute, in their report, a model of its kind. Narrow, thin and slender often, the voices of the protagonists do not occupy the center of the soundstage as we had hoped ... This is partly of the quasi-systematic use of synchronous sound (ie those captured on the film, boardmarked without reprocessing the studio to maximize intelligibility). Again, all indications are that this is an artistic intention, that some will appreciate, the same interpretation as a form of requirement.

The spatial rendering of the soundtrack, meanwhile, surprises too. Essentially frontal, operation of the scene often seems to lack multi breaths acoustic sounds hesitant to throw the foreground, to the point of confining them to a virtual background, certainly audible, but that ends up generating a form abstraction which contrasts with the clinical report and referred realistic images. The original music, for its part, boasts a superb orchestral stability, and a dense musical foundation, carefully textured, vibrant and heavy. The choice of musical accompaniment (various titles blues, country and others) are what concerns them relegated to the background sound so very elegant and very schematic. Few environments are being embedded into the flesh of the rear speakers ... or even the facade, which seems a bit stingy with spatial information, even if they remain real in many sequences. Again, there is a renunciation of value that seems to govern the development of the architecture of sound film. The shots, so dazzling film, appear to be particularly successful here, evidence of careful design and incorporates built from authentic records. However, and this is another serious subject, they resonate as the center channel, almost never grow or spread on the auxiliary track, confined, stifled, ossified in this centrality that is sure to surprise, in hands respects. Each burst of machine gun or pistol triggers a sharp rise in the volume and dynamics of the central canal, while domesticate the other channels. On rare occasions, the bullets ricocheting around the soundstage, and the shots are more liberal in their reporting, not hesitating to invade the frontal width of the stereo. Some ricochets are audible on the rear, while two or three bullet holes are appearing heavy on the rear channel, a very localized and sensational. The memorable scene of shooting night in the woods is an excellent example: the scene back to see sidelined, with the exception of three shotgun shots, absolutely sensational, that resonate throughout the listening space , showing superb spatial values, into the channel subwoofers, and a great power reserves.

Otherwise, the sound quality is best shown in his record, but too timorrée regarding the relief and volume of sounds. In coveting the realism of principle, the filmmaker seems he abandoned realism and environmentally sound, as was the case in previous productions. However, numerous gunfight scenes show an incendiary dynamic, vivid and noise impacts. Sound design applied not fail discouraged and will require some time to adapt. Far be it from us to speak of failure, but the refusal of spectacularization outrageous and ostentatious acoustics of the film will disappoint. For our part, we enjoyed this type of sound structure, this architecture rigorous, whatever may say or think, we will still be kept awake. His systematic throughout the two hours and eighteen footage, is implemented, again, exercise style, and as such is that the film has to be savored.

Dynamic, often loyal, clean, aggressive, too, the soundtrack of the film suggests a high stability of expression and lacks any impact and width. The advantage of HD audio codecs DTS-HD Master Audio is still audible in the integrity of sounds, their impact and stature. The French version, proposed in mid DTS 5.1 output is however very close, but your ears the most agile of them will quickly look for signs of distortion and a certain lack of impact of drought, and vigor. A relative weakness, audible on the multiple shots, well rounded and more violent DTS-HD Master Audio.

A soundtrack that is known to be startling, but that must be understood in a singular way. You've been warned.

Fully presented in HD:

• Making of
• "Opponents are larger than life"
• Interviews with Johnny Depp and Christian Bale
• Documentary about the legendary gangster
• Audio commentary by Michael Mann
• "On the trail of Dillinger"
• "Back on the scene real adventures of John Dillinger"
• "Technology Criminal"
• Documentary on cars and weapons Film
• U-Control PIP mode provides access to images of the shooting, and track information on the chronology of events, coupled with historical anecdotes.

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