John Dillinger’s violent life of crime made headline news in the ’30s, as he robbed banks across the Midwest. A folk hero of sorts, Dillinger was caught in a whirl of machine guns, fast cars, and beautiful women. Then it all came to a bloody end in 1934…
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Oates and Johnson reteam after The Wild Bunch, and are joined by other excellent character actors; Oates as a wild-eyed romantic, Johnson as a blue-eyed Company Man, both with aspirations to fame (as in Badlands). There are flashes of greatness here (the table abandoned by Dillinger and his moll when he is spotted by his nemesis), but it's sad that Oates all but disappears frkm the film long before his actual demise.
Coppola called it masterpiece and I guessed he was being generous but I have to agree. Milius applies his brand of anarchism to the gangster myth and transforms it into all out war with Purvis depicted like a killer in slasher movie claiming victim after a victim and seemingly pulling the narrative away from Dillinger. In the opening Dillinger talks into the camera by the end he is reduced to a cardboard cutout.
In the same style spectrum as Bonnie and Clyde, Dillinger has an immense amount of energy with the sum of greatness forming from separate small moments here and there. Looking at purely from a visual and artistic standpoint, instead of how accurate its portrayal of its subject is, this is definitely among the most entertaining gangster films out there.
The movie is throughout, always entertaining, full of gunfights & violences; which I like. What I don't like and what really disturbes me, is the 'black comedy' element in it, which, for me, drags the movie down makes it ridiculous. On top of that it is too close, similar to Bonnie & Clyde. Warren Oates & Ben Johnson doing great.
A modern western with energy and poetry to spare. Milius's concern for the impact of violence is always on display; death never fails to register. Beautiful performance by Ben Johnson, see: the scene w/ the young boy at the shoeshine stand. A film full of small resonant moments...Leroy drinking from a flask after dropping his girl off at her front door. Perhaps the best onscreen use of natural wind since Griffith!
Rather impressive how Milius uses a montage of old newsreel footage, old public domain movie footage and still shots of his own actors to suggest parts of Dillinger's rampage. Despite the script's faults, he is a rather impressive director/screenwriter.
It's no Bonnie and Clyde and it's no Badlands, but Dillinger certainly belongs in that family. Between this and Public Enemies, the events are hazy and largely inaccurate, but I suppose that's just how it goes with mythology. Warren Oats as John Dillinger is inspired casting.