In this magnificently inscrutable late-sixties masterpiece, Marco Ferreri, one of European cinema’s most idiosyncratic auteurs, takes us through the looking glass to one seemingly routine night in the life of an Italian gas mask designer, played by Michel Piccoli.
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Many critics seem to feel so compelled to overemphasize Ferreri's deconstructive, anti-authoritarian politics that they fail 2 properly gauge the inordinate excess of perplexing detail which one finds in a film like DILLINGER IS DEAD. Ferreri & his actors do such a remarkable job of generating ambient detail which only occasionally aligns w/ the director's political or metaphorical agenda; there's no need 2 simplify.
Sometimes when I stay up all night or am left alone, I feel like its going to be like Dillinger Is Dead scenario, but no its just a night of me watching Criterions while finishing off a box of Apple Jacks.
Everybody knows that italians are the best in the kitchen!
Marco Ferreri and always incredible Michel Piccoli make a tour de force gun soup, full of referencies to human isolation, middle class splendour, sexual relationship crisis and personal tragedy.
Even with unusual, freakish or straightforward directing and screenplay approaches, this remains as very original example of italian cinema in late 1960s.
La virulence d'un cinéaste "écorché vif" qui, par le biais de l'humour noir, met à mal les tenants de l'ordre établi et de la morale bourgeoise. A la fois rigoureux et quelque part extravagant, une oeuvre essentielle de ce début des années 70... www.cinefiches.com