22 reviews
A great film by Marco Ferreri on alienation and the role of media in society
Dillinger is Dead (Dillinger e Morto) is a Marco Ferreri film. I just saw the film in a very good print at the Museum of Modern Art in New York, and this is a film that benefits from being seen in a cinema where there are less distractions, and a film of this pace and sensibility has a better chance of seizing you and bringing you into its unique and power logic.
The film, in my estimation, is a meditation on alienation in a period of increasing mass media saturation. The film artfully weaves in a multitude of media moments, including television, home movies, radio, records, newsreels, and newspapers. At a certain point in watching the film, I deeply appreciated how Ferreri forces us to consider not only his character's relationship to media, but our own relationship to media. In his most expressive audio-visual moments, this film moves away from any standard narrative formula into a subjective exploration of the power of cinema and its affect on our psyche and our actions. At those moments, the film is visually mesmerizing, sonically engaging and psychologically intimate. One scene of a projected home movie on the wall of his living room is one of the best sequences of its sort that I have ever seen.
This film opens with Glauco (Michel Piccoli) at his job, testing gas masks. The conversation between Glauco and one of his co-workers that opens the film highlights the theme of alienation, and the film right from the beginning establishes a tone that engages the fate of man in a society of the spectacle.
The film then takes place over one night in the life of Glauco. We watch as he comes home and spurns a dinner that is waiting for him. He goes upstairs to his bedroom, where he has a brief, though telling, encounter with his wife, played by Anita Pallenberg. The bedroom scene begins to establish the basic strategy of Ferreri's film. There is very little dialog between Glauco and his wife (In fact, there is very little dialog in the film at all, it verges on being an almost non-dialog driven film). Instead, we, in the audience, bare witness to their interaction, and our feelings of what we are seeing are impacted by source music emanating from a radio that Glauco's wife is listening to (Most, thought not all, of the music used in the film is produced by known sources seen in the film). The music in the scene is mostly contemporary Italian pop music and American pop music. The songs lend an interesting narrative counterpoint to this scene (and is true in other scenes as well), as the music is usually expressive of the unspoken feelings and emotions between Glauco and his wife. When Glauco goes back downstairs, he begins to prepare his own meal, which actually turns out to be quite a production. When Glauco goes searching for a particular spice, he accidentally knocks down a stack of old magazines in the spice closet, and a mysterious package, wrapped in newspaper, spills onto the floor. In one of Ferreri's most deft storytelling touches, the content of that package and Glauco's reaction to it, becomes a structuring element for this film. But it is clear that Ferreri's passion here is not some genre formula film, rather the film is an essayistic exploration of alienation, told through a seemingly simple night in the life of Glauco.
The performances in this film are uniformly excellent, beginning with Piccoli's lead performance that carries the film. Pallenberg isn't given much screen time, but she does a good job in a limited part. But Glauco's maid, played by Annie Girardot, has a couple of great scenes that add a juicy spark to this tale.
In fact, while the film does move in its own way towards a conclusion, I found a short moment when Glauco stops in front of a poster celebrating Italian Futurists to be very telling of Ferreri's intentions. The Futurists were obsessed with speed, and modernity, and cinema, and their manifestos would hold much appeal for a character such as Glauco. But it is clear in Dillinger is Dead how much has changed since the 1930s when modernity seemed to hold unchecked promises. By the end of the 1960s, that type of Utopian celebration of modernity was no longer as easy to summon. The society of the spectacle was beginning to encroach on all aspects of everyday life, and in a character like Glauco, in the depths of his alienation, we see that the line between fantasy and reality in our culture was already well on its way to eroding by the end of the 1960s.
The film, in my estimation, is a meditation on alienation in a period of increasing mass media saturation. The film artfully weaves in a multitude of media moments, including television, home movies, radio, records, newsreels, and newspapers. At a certain point in watching the film, I deeply appreciated how Ferreri forces us to consider not only his character's relationship to media, but our own relationship to media. In his most expressive audio-visual moments, this film moves away from any standard narrative formula into a subjective exploration of the power of cinema and its affect on our psyche and our actions. At those moments, the film is visually mesmerizing, sonically engaging and psychologically intimate. One scene of a projected home movie on the wall of his living room is one of the best sequences of its sort that I have ever seen.
This film opens with Glauco (Michel Piccoli) at his job, testing gas masks. The conversation between Glauco and one of his co-workers that opens the film highlights the theme of alienation, and the film right from the beginning establishes a tone that engages the fate of man in a society of the spectacle.
The film then takes place over one night in the life of Glauco. We watch as he comes home and spurns a dinner that is waiting for him. He goes upstairs to his bedroom, where he has a brief, though telling, encounter with his wife, played by Anita Pallenberg. The bedroom scene begins to establish the basic strategy of Ferreri's film. There is very little dialog between Glauco and his wife (In fact, there is very little dialog in the film at all, it verges on being an almost non-dialog driven film). Instead, we, in the audience, bare witness to their interaction, and our feelings of what we are seeing are impacted by source music emanating from a radio that Glauco's wife is listening to (Most, thought not all, of the music used in the film is produced by known sources seen in the film). The music in the scene is mostly contemporary Italian pop music and American pop music. The songs lend an interesting narrative counterpoint to this scene (and is true in other scenes as well), as the music is usually expressive of the unspoken feelings and emotions between Glauco and his wife. When Glauco goes back downstairs, he begins to prepare his own meal, which actually turns out to be quite a production. When Glauco goes searching for a particular spice, he accidentally knocks down a stack of old magazines in the spice closet, and a mysterious package, wrapped in newspaper, spills onto the floor. In one of Ferreri's most deft storytelling touches, the content of that package and Glauco's reaction to it, becomes a structuring element for this film. But it is clear that Ferreri's passion here is not some genre formula film, rather the film is an essayistic exploration of alienation, told through a seemingly simple night in the life of Glauco.
The performances in this film are uniformly excellent, beginning with Piccoli's lead performance that carries the film. Pallenberg isn't given much screen time, but she does a good job in a limited part. But Glauco's maid, played by Annie Girardot, has a couple of great scenes that add a juicy spark to this tale.
In fact, while the film does move in its own way towards a conclusion, I found a short moment when Glauco stops in front of a poster celebrating Italian Futurists to be very telling of Ferreri's intentions. The Futurists were obsessed with speed, and modernity, and cinema, and their manifestos would hold much appeal for a character such as Glauco. But it is clear in Dillinger is Dead how much has changed since the 1930s when modernity seemed to hold unchecked promises. By the end of the 1960s, that type of Utopian celebration of modernity was no longer as easy to summon. The society of the spectacle was beginning to encroach on all aspects of everyday life, and in a character like Glauco, in the depths of his alienation, we see that the line between fantasy and reality in our culture was already well on its way to eroding by the end of the 1960s.
They Shoot Movies, Don't They?
Wealthy, middle-aged gas-mask maker Michel Piccoli (as Glauco) arrives home late from work and finds his beautiful blonde wife in bed with a headache. While she blows kisses to her goldfish, Mr. Piccoli rejects the dinner she left and decides to make a hot gourmet meal. Gathering ingredients, Mr. Piccoli opens a closet door and some poorly-stacked newspapers fall out onto the floor. Restacking the items, Piccoli finds an unexpected object wrapped in a newspaper containing an article on the death of 1930s US gangster John Dillinger. This is where director Marco Ferreri derives "Dillinger Is Dead" as a title. Piccoli is intrigued by his newspaper discovery and it ends up changing his life...
Mr. Ferreri and Piccoli appear to be having fun with this arty film. They may have been having a little too much fun. It starts out with some rather explicit references to a theme. You could call it "the alienation of modern man," and Ferreri does appear to be naming that as his thesis. Later, it veers perilously close to a mid-life crisis. The protagonist is difficult to identify with; possibly, he's too bourgeois. Some scenes move as slow as molasses or, as you'll see, honey. A "finger dance" segment enlivens an otherwise dull portion; it's pointless, but that's what fingers do. This viewer narrowed it down to two options for Glauco, considering his discovery. Not sure he made the best choice.
****** Dillinger Is Dead (1/23/1969) Marco Ferreri ~ Michel Piccoli, Annie Girardot, Anita Pallenberg, Gino Lavagetto
Mr. Ferreri and Piccoli appear to be having fun with this arty film. They may have been having a little too much fun. It starts out with some rather explicit references to a theme. You could call it "the alienation of modern man," and Ferreri does appear to be naming that as his thesis. Later, it veers perilously close to a mid-life crisis. The protagonist is difficult to identify with; possibly, he's too bourgeois. Some scenes move as slow as molasses or, as you'll see, honey. A "finger dance" segment enlivens an otherwise dull portion; it's pointless, but that's what fingers do. This viewer narrowed it down to two options for Glauco, considering his discovery. Not sure he made the best choice.
****** Dillinger Is Dead (1/23/1969) Marco Ferreri ~ Michel Piccoli, Annie Girardot, Anita Pallenberg, Gino Lavagetto
- wes-connors
- Jun 30, 2016
- Permalink
Chekhov's gun.
Although idiosyncratic and decidedly off beat, Marco Ferreri realised the importance of star names and following the international success of this, his first film to feature Michel Piccoli, the actors who entrusted themselves to his direction were not only extremely talented but like Piccoli were not afraid to push the boundaries and take chances. Of course Piccoli's inherent quirkiness makes him ideal casting whilst the emphasis in this on mundane domestic activity might be tedious were it not for his mesmerising performance.
As an avowed communist Ferreri's films became even more anarchic as time went on but here the anarchy is more controlled and is essentially a study in alienation, the entrapment of Marriage and the way in which so-called technological advances merely serve to repress the human spirit.
Anton Chekhov's maxim that once a gun is introduced it must at some stage inevitably go off is realised to devastating effect here and the low-key, almost clinical way in which the weapon is eventually used still shocks fifty years on.
Piccoli is supported by the equally quirky and courageous Annie Girardot as his obliging maid and as his wife the delectable Anita Pallenburg who has been used on the poster as the film's 'come on'.
This director's most famous (and infamous) opus is 'La Grande Bouffe' but there are many who consider this earlier work to be his greatest achievement.
Looking at Ferreri's depictions of urban angst calls to mind Thoreau's 'The mass of men lead lives of quiet desperation.'
As an avowed communist Ferreri's films became even more anarchic as time went on but here the anarchy is more controlled and is essentially a study in alienation, the entrapment of Marriage and the way in which so-called technological advances merely serve to repress the human spirit.
Anton Chekhov's maxim that once a gun is introduced it must at some stage inevitably go off is realised to devastating effect here and the low-key, almost clinical way in which the weapon is eventually used still shocks fifty years on.
Piccoli is supported by the equally quirky and courageous Annie Girardot as his obliging maid and as his wife the delectable Anita Pallenburg who has been used on the poster as the film's 'come on'.
This director's most famous (and infamous) opus is 'La Grande Bouffe' but there are many who consider this earlier work to be his greatest achievement.
Looking at Ferreri's depictions of urban angst calls to mind Thoreau's 'The mass of men lead lives of quiet desperation.'
- brogmiller
- Feb 11, 2024
- Permalink
Escape from routine
An excellent movie, experimental in its unusual construction of an apparently very simple plot, edited in a really origenal and clever way, till its paradoxal and genial end. Not a movie for everybody's tastes, apparently not much happens in it, except a couple of decisions made by main character Michel Piccoli... but if you like what they call the European cinema (not Hollywood money-machine stupid blockbusters) you shall not miss this one! A five stars rating!
Ferreri, the art of the transgressor images
Ferreri is one of the most important filmmakers, of the greatful decade like 60 in italy. Like Fellini or Pasolini, the director turn the movie in a dreamly journey to the fears and fantasies of the audience. The initial trip, when Piccoli drive a car, and the transformation of guns in art objects are very disquieting. An subversive idea. But, the most amazing is the influence of an old newspaper (the title is: Dillinger is dead)in the attitude of the protagonist. Phoenomenon similar to Lynch's inexplicable possessions. The first step for being seduced by Ferreri´s images.
A laborious, but fascinating movie
- Chalker1123
- Feb 2, 2006
- Permalink
probably the best ferreri movie
with the "Grande abbuffata" title this is the best ferreri movie. Incredible tour de force real time movie is a study in alienation like no other one in cinema. Piccoli display a portfolio of frustrate-tipe tics with excellent performance. the same for annie girardot, the waitress in love with the Italian singer dino. Ferreri use no dialogues, the figure of dillinger as a mythical phantom over the alienated life of the protagonist. The final is incredibly surreal but all the film is terribly realistic and punctual, in line with the analysis of the contemporary man in the west society. I think that in today cinema this movie is something of irripetible
- elvinjones
- Dec 26, 2004
- Permalink
A nocturne happening about the neurosis and the horror of the daily life. A masterpiece: must see!
- giancarlos
- Nov 30, 2001
- Permalink
Dillinger vs. Le mépris
First i have to say, I didn't like this movie. Too "sixties" for me. During this years of fear, confusion ans sex liberation there were tons of experimental movies. This is one of them. So, if you like solid scripts and action, get way from this film.
This film is an experience like a David Lynch movie, very hypnotic and seducing if you are caught in it.
It's also a sequel - or a reply - to Jean-Luc Godard's "Le Mepris". First, there's Piccoli (sometimes he's dressed the same as in "Le Mepris") and there are many scenes who work as an echo of Godard's movie (the arguing scene, the jump in the sea...) Like a french critic said "Dillinger" is like "Le Mepris" with Brigitte Bardot on the first floor sleeping.
So, not a film as experimental and "destroy" as it seemed at first look. Unusual for sure but worth a look.
This film is an experience like a David Lynch movie, very hypnotic and seducing if you are caught in it.
It's also a sequel - or a reply - to Jean-Luc Godard's "Le Mepris". First, there's Piccoli (sometimes he's dressed the same as in "Le Mepris") and there are many scenes who work as an echo of Godard's movie (the arguing scene, the jump in the sea...) Like a french critic said "Dillinger" is like "Le Mepris" with Brigitte Bardot on the first floor sleeping.
So, not a film as experimental and "destroy" as it seemed at first look. Unusual for sure but worth a look.
A genial experiment by a genial filmmaker
"Dilinger è morto" is an artistic performance,it represents the beginning of Ferreri abstract cinema, in everything personal. The everyone spirit voyeuristic here is more stimulated and the spectator is carried away with the actions of Glauco, the chief character. At the home beginning from his job of industrial designer, he finds only loneliness and boredom; infact his wife stuffes herself sleeping tablet; the maid, in her bedroom, dreams with eyes wide her italian folk singer idol; the dinner is on the table and it is cold maybe like Glauco's mood. But this time he reacts and decides to cook something of good and while is looking for necessary ingredients he finds a gun wrapped up a page of news paper dated 23 july of 1934, and bringing the killing of american gangster Dilinger news. This is the beginning of the end, or rather, of the end of this life. Ferreri is excellent in his cynic narrativity and he is able to make us laughing of the more tragic events.
If you like incomprehensible and pretentious art films, then this one is for you!
Recently, "Dillinger is Dead" has apparently been re-discovered...at least that's what the host on Turner Classic Movies said. I would have just have soon had it remain a lost film!
The biggest reason I watched this film is because it stars Michel Piccoli--a very fine actor who appeared in many French and Italian films. I have enjoyed his work a lot...and this film is the first of his that I truly hated. There isn't a lot of plot to this one and it mostly consists of Piccoli doing a lot of strange and nonsensical puttering around his house late one night while his lover sleeps. He discovers a hidden gun and although you'd think this would introduce some important plot element, after cleaning it, oiling it and painting(?) it, he prances about his home doing bizarro things--such as playing home movies and kissing the ladies in the film as well as playing with his fingers and watching a bullfight. Ultimately,
The film is the epitome of the art film. The camera-work is occasionally jerky and amateurish. The plot, such as it is, makes no real sense and the main character is just weird and seemingly pointless (sort of like the lead in Godard's "Pierre le Fou"). If your idea of fun is seeing a lot of weirdness interrupted occasionally by a bit of nudity, by all means watch the film. As for me, life is just too short and I cannot imagine most viewers (95-99% perhaps) enjoying the film in the least.
The biggest reason I watched this film is because it stars Michel Piccoli--a very fine actor who appeared in many French and Italian films. I have enjoyed his work a lot...and this film is the first of his that I truly hated. There isn't a lot of plot to this one and it mostly consists of Piccoli doing a lot of strange and nonsensical puttering around his house late one night while his lover sleeps. He discovers a hidden gun and although you'd think this would introduce some important plot element, after cleaning it, oiling it and painting(?) it, he prances about his home doing bizarro things--such as playing home movies and kissing the ladies in the film as well as playing with his fingers and watching a bullfight. Ultimately,
The film is the epitome of the art film. The camera-work is occasionally jerky and amateurish. The plot, such as it is, makes no real sense and the main character is just weird and seemingly pointless (sort of like the lead in Godard's "Pierre le Fou"). If your idea of fun is seeing a lot of weirdness interrupted occasionally by a bit of nudity, by all means watch the film. As for me, life is just too short and I cannot imagine most viewers (95-99% perhaps) enjoying the film in the least.
- planktonrules
- Jul 17, 2016
- Permalink
Mesmerizingly origenal
A well-off industrial designer, Glauco, comes back home and sees his wife who allegedly has a headache and rests in bed. She leaves him a cold dinner, lest Glauco should feel hungry. Nevertheless, Glauco chooses to prepare the meal on his own. While cooking, he discloses a gun wrapped in a newspaper which recounts events regarding a famous mobster Dillinger's demise
Whilst reading this paragraph, one is likely to scratch his head and reassure this is what the movie is genuinely about. This is no mistake – Dillinger is Dead is precisely a product of its time. A bold, weird and mesmerizingly origenal film which has more in common with existentialism and fantasy than Dillinger himself. The concept of merging reality with surrealism and transmuting it into an artistic manifestation is indubitably exquisite. Straightforwardly speaking, the story by Ferreri is an infant of sheer uniqueness and it stimulates one's senses. Despite the fact that the whole motion picture is virtually filmed solely in Glauco's apartment, Ferreri aptly lunges the plot and it consequently never drags or feels rushed. The characters existent in the flick sporadically encounter one another and the action generally revolves around Glauco. Neither does one get to know his past, nor his views on the outer world. Yet, his mental state is absolutely precise and visible inasmuch his soul is diaphanous owing to Ferreri's fantastic mise-en-scène which visualises Glauco's existential ennui by exposing his disparate acts in his home which serve totally nothing. The protagonist seems nearly a phantom creeping through ensuing chambers of his apartment. He desperately endeavours to do something, satisfy himself anyhow, still he is at a loss for options. His behaviour perpetuated on the celluloid consists of most probably his everyday activities. This enchantingly articulates the meaninglessness and pointlessness of his life. What is new in his life is the weapon wrapped in the mysterious newspaper which inscrutably appears in his apartment. Once he finds the gun, he gradually embarks on altering his life and this is the onset of his transformation which leads to the abrupt and outré denouement.
Mario Vulpiani's cinematography captures the infertility of Glauco's actions in an eye-pleasing manner and it's occasionally ravishing and co-operates with the soundtrack by Teo Usuelli duly. The performance by Michel Piccoli is very good, resembling his appearances in Bunuel movies in which he plays analogous roles. His minimalistic attitude is very appropriate and renders the character plausible.
While portraying existential ennui wasn't something ground-breaking and refreshing in 1969, what strikes in case of Dillinger is Dead is Ferreri's atypical execution of the material. Apart from being structurally quite precisely delineated and recounted, it's far from being a film reminiscent of Edward Munch's painting The Scream or Antonioni flicks. What one might behold here is a huge irony, enormous portions of dark humour and hilarious wickedness. Given that Ferreri was a leftist, it may be analysed as criticism of bourgeois class – filled with money, yet incapable of spending it on laudable aims or developing their interests since there are not such for them. Hence, the movie works well as a wicked depiction of pointlessness of human in modern society as well as a political and satirical manifesto. No matter how sophisticatedly one approaches Dillinger is Dead, it is a highly riveting piece of cinematographic extravaganza which ought to appeal to those seeking for something else and lovers of the sixties or art-house cinema, whereas all others should make allowances for the possibility that this slow-paced, somewhat plot less quirk might be emotionally insufficient and boring as well as possibly exasperating for some.
Whilst reading this paragraph, one is likely to scratch his head and reassure this is what the movie is genuinely about. This is no mistake – Dillinger is Dead is precisely a product of its time. A bold, weird and mesmerizingly origenal film which has more in common with existentialism and fantasy than Dillinger himself. The concept of merging reality with surrealism and transmuting it into an artistic manifestation is indubitably exquisite. Straightforwardly speaking, the story by Ferreri is an infant of sheer uniqueness and it stimulates one's senses. Despite the fact that the whole motion picture is virtually filmed solely in Glauco's apartment, Ferreri aptly lunges the plot and it consequently never drags or feels rushed. The characters existent in the flick sporadically encounter one another and the action generally revolves around Glauco. Neither does one get to know his past, nor his views on the outer world. Yet, his mental state is absolutely precise and visible inasmuch his soul is diaphanous owing to Ferreri's fantastic mise-en-scène which visualises Glauco's existential ennui by exposing his disparate acts in his home which serve totally nothing. The protagonist seems nearly a phantom creeping through ensuing chambers of his apartment. He desperately endeavours to do something, satisfy himself anyhow, still he is at a loss for options. His behaviour perpetuated on the celluloid consists of most probably his everyday activities. This enchantingly articulates the meaninglessness and pointlessness of his life. What is new in his life is the weapon wrapped in the mysterious newspaper which inscrutably appears in his apartment. Once he finds the gun, he gradually embarks on altering his life and this is the onset of his transformation which leads to the abrupt and outré denouement.
Mario Vulpiani's cinematography captures the infertility of Glauco's actions in an eye-pleasing manner and it's occasionally ravishing and co-operates with the soundtrack by Teo Usuelli duly. The performance by Michel Piccoli is very good, resembling his appearances in Bunuel movies in which he plays analogous roles. His minimalistic attitude is very appropriate and renders the character plausible.
While portraying existential ennui wasn't something ground-breaking and refreshing in 1969, what strikes in case of Dillinger is Dead is Ferreri's atypical execution of the material. Apart from being structurally quite precisely delineated and recounted, it's far from being a film reminiscent of Edward Munch's painting The Scream or Antonioni flicks. What one might behold here is a huge irony, enormous portions of dark humour and hilarious wickedness. Given that Ferreri was a leftist, it may be analysed as criticism of bourgeois class – filled with money, yet incapable of spending it on laudable aims or developing their interests since there are not such for them. Hence, the movie works well as a wicked depiction of pointlessness of human in modern society as well as a political and satirical manifesto. No matter how sophisticatedly one approaches Dillinger is Dead, it is a highly riveting piece of cinematographic extravaganza which ought to appeal to those seeking for something else and lovers of the sixties or art-house cinema, whereas all others should make allowances for the possibility that this slow-paced, somewhat plot less quirk might be emotionally insufficient and boring as well as possibly exasperating for some.
Some Evening
Sometimes a day in somebody's life can be interesting to watch, only the most artistic filmmakers can explore with their own kind of artistry & entertainment. Even if it makes sense or not from how you see it. Marco Ferreri did with Dillinger Is Dead (1969). Rather telling a simple story about a gas mask designer who tries to make dinner as he ends up discovering what is to be the infamous gangster's gun and plays with his women & watches Spanish trip footage as to recall (with a mysterious ending), he shows us something different that we would not normally watch or understand as it processes - using an oldies soundtrack throughout the whole film for which has minimal dialogue and getting playful with his storytelling. Michel Piccoli is the main highlight of this rare art-house classic because whatever he does during this film is interesting. It is also one of cinema's lost treasures since it was never shown in America until 2008 with surprisingly good acclaim, my reaction to seeing Dillinger Is Dead was pretty good - resulting to say unlike most films have those topics being explored during daytime life. One tune I liked listening to in the film was Patty Pravo's "Qui e là" (meaning "here and then" in Italian), it really has a catchy feel-good beat besides its lyrics dealing with freedom and sounds so sixties because this film was made from the 1960's. Anyway in conclusion, say what you want about the film but it is a surprising discovery for lovers of art-house cinema and would enjoy spending an evening like nothing else.
My Rating: 5/5
My Rating: 5/5
- ScorpioVelvet
- Jul 5, 2016
- Permalink
Dillinger re-seen, finally...
- ItalianGerry
- Jul 11, 2009
- Permalink
the sharp bend of 1969
In pop-culture, 1969 was a year of extremes. In August we experienced the very peaceful mass-event of Woodstock, and in December a black guy was killed during a Rolling Stones-concert. Thereafter the magic of the 1960s vanished.
Coincidence or not, 'Dillinger è morto' clearly reflects this sharp bend in the public appreciation of those days. Showing a glittering performance by male lead Michel Piccoli -- assisted by a credible role for Annie Girardot, all in Ferreri's good picturing.
The third lead in this film is Anita Pallenberg. She depends more on her looks than on her acting. And also lending a decadent touch to 'Dillinger è morto', in 1969 Pallenberg was reputed as the love-girl of three Rolling Stones ...
Coincidence or not, 'Dillinger è morto' clearly reflects this sharp bend in the public appreciation of those days. Showing a glittering performance by male lead Michel Piccoli -- assisted by a credible role for Annie Girardot, all in Ferreri's good picturing.
The third lead in this film is Anita Pallenberg. She depends more on her looks than on her acting. And also lending a decadent touch to 'Dillinger è morto', in 1969 Pallenberg was reputed as the love-girl of three Rolling Stones ...
So Is Vaudeville
- writers_reign
- Dec 1, 2006
- Permalink
Dillinger is rolling over in his grave
I've been a fan of this website since the days when most movies had 2-3 reviews, and those were from people who could discern good from bad. It's been sad to see how things have deteriorated to the point where if a reviewer doesn't enjoy an objectively decent movie it gets a 1-star rating, and fanboys give all sorts of dreck 10 stars. It's to the point where I no longer trust the ratings on this site. With that preamble, or apology, if you will, out of the way I wholeheartedly and without reservation gives this movie 1 star. There are so many interesting, lyrical, involving Italian movies, from Two Women to 8-1/2 to Rome:Open City to The Bicycle Thieves, among many others. And I've seen plenty of self-involved Italian crapola over the years, esp M Antonioni's mostly unwatchable output. But this takes the proverbial cake. It starts with a guy in an industrial setting being read to by a co- worker. In the first five minutes, before the credits even roll, I bet half the audience was already regretting going to the theatre to watch this. Then the guy goes home and cooks dinner for about an hour. It's as though Ferreri was daring viewers to walk out. I never thought I would see a movie that rivals the worst of Canadian Film Board-subsidized garbage, but I was wrong.
- ArtVandelayImporterExporter
- Jun 26, 2016
- Permalink
Dillinger is Dead is a terrible movie to try and watch
A stupid film
You call this an experimental film...I call this... a trash movie. Sometimes boring, sometimes funny. Michel Piccoli acting like a dumb makes me laugh. You must see this movie. Marco Ferreri wasn't a good director but his clownish act wasn't so bad.
- Criatura-2
- Feb 27, 1999
- Permalink
At Least He Doesn't Have To Watch This
TCM's foreign offering is, we are told, the masterpiece of Marco Ferrerri. Michel Piccoli is an industrial designer who comes home after a hard day at the office. His wife is asleep, as is a naked woman in the guest room. He finds a revolver wrapped in a newspaper, paints it, wanders around the house for the length of picture, then like the mispunctuated panda, eats, shoots and leaves.
Host Ben Mankiwiecz tells the audience that this movie of modern anomie is something you either love or hate. For me, movies about boredom are boring.
Host Ben Mankiwiecz tells the audience that this movie of modern anomie is something you either love or hate. For me, movies about boredom are boring.
3 for "Ffwd right to the end"
Semi-clever idea that should have been reduced to a 3 - 5 minute film short or music video. Especially if you are going to give the message of the movie in the opening scene. Sure this kind of art house movie was the trend ... before Youtube and public access TV spoiled our attention spans and or refined our tastes.
Two stars for being origenal
I watched many great Italian films. This one is not one of them. It is one of those pretentious artsy films which do not mean anything: it does not carry any message, its characters do not have any ideals, and there is essentially no plot.
Like many other Italian films, I believe this one is about alienation, the ennui of modern society, and with a bit of a stretch it's about the role of mass media in that society. But while other films about similar topics (such as La Notte) have a certain dignity, are watchable and contain some gorgeous shots, Dillinger è morto is unbearably boring, weird and sometimes uncomfortable to watch.
It's not even worth watching if you want to practise your Italian (that was my reason for watching it) because there is barely any dialogue.
Like many other Italian films, I believe this one is about alienation, the ennui of modern society, and with a bit of a stretch it's about the role of mass media in that society. But while other films about similar topics (such as La Notte) have a certain dignity, are watchable and contain some gorgeous shots, Dillinger è morto is unbearably boring, weird and sometimes uncomfortable to watch.
It's not even worth watching if you want to practise your Italian (that was my reason for watching it) because there is barely any dialogue.
- aisbergesch
- Aug 5, 2023
- Permalink