Dillinger ha muerto

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.

I love arthouse movies and i am sick and tired of modern dumb movies which the viewer forgets in a week max. DIDead has an artistic value, i get it, its messages are clear for any adult who's familiar with this kind of movies. However, i didn't like it. It was not just a slowburn, it was boring as hell. I managed to watch the whole movie because Michel Piccoli is a great and charismatic actor. Furthermore, there were some interesting scenes. But overall, this was painful to watch. No substance, just a guy doing mostly meaningless things. This should have been a short film. If it lasted 40 minutes, this could have been probably a very good movie. But these 95 minutes felt like 3 hours.

Ending was good though, so was the beginning.

An excellent movie, experimental in its unusual construction of an apparently very simple plot, edited in a really original 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!

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 ...

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