IMDb > Dillinger Is Dead (1969)

Dillinger Is Dead (1969) More at IMDbPro »Dillinger è morto (original title)

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Dillinger Is Dead -- Criterion Collection trailer

Overview

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Director:
Writers:
Marco Ferreri (story)
Marco Ferreri (screenplay) ...
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Contact:
View company contact information for Dillinger Is Dead on IMDbPro.
Release Date:
23 January 1969 (Italy) See more »
Genre:
Plot:
Back home, Glauco, an industrial designer, finds his wife in bed with a serious headache. She has left... See more » | Add synopsis »
Awards:
1 win & 2 nominations See more »
NewsDesk:
(24 articles)
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User Reviews:
Mesmerizingly original See more (13 total) »

Cast

  (in credits order)

Michel Piccoli ... Glauco

Anita Pallenberg ... Ginette - La moglie di Glauco
Gino Lavagetto ... Marinaio (as Gigi Lavagetto)
Mario Jannilli ... Capitano

Carole André ... Proprietaria del batello

Annie Girardot ... Sabine - la cameriera
Adriano Aprà ... Cinema critic
Carla Petrillo

Directed by
Marco Ferreri 
 
Writing credits
Marco Ferreri (story)

Marco Ferreri (screenplay) and
Sergio Bazzini (screenplay)

Produced by
Ever Haggiag .... producer
Alfred Levy .... producer
 
Original Music by
Teo Usuelli 
 
Cinematography by
Mario Vulpiani 
 
Film Editing by
Mirella Mercio 
 
Production Design by
Nicola Tamburo  (as Nicola Tamburro)
 
Makeup Department
Rossano Caporicci .... hair stylist
 
Production Management
Sergio Giussani .... production manager
 
Second Unit Director or Assistant Director
Arturo Caravati .... assistant director
 
Art Department
Luciana Vedovelli Levi .... set dresser
 
Sound Department
Carlo Diotallevi .... sound
 
Visual Effects by
Silvio Braconi .... visual effects
Aldo Frollini .... visual effects
 
Camera and Electrical Department
Giorgio Urbinelli .... assistant camera
 
Editorial Department
Giuliana Trippa .... assistant editor
 
Other crew
Sergio Giussani .... production secretary
Maria Perego .... puppeteer
 

Production CompaniesDistributors

Additional Details

Also Known As:
"Dillinger è morto" - Italy (original title)
See more »
Runtime:
90 min
Country:
Language:
Color:
Color (Eastmancolor)
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:

Did You Know?

Trivia:
Italian censorship visa # 52905 delivered on 17-12-1968.See more »
Movie Connections:
Referenced in The Seed of Man (1969)See more »

FAQ

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1 out of 1 people found the following review useful.
Mesmerizingly original, 25 July 2013
Author: m-sendey from Poland

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 original 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.

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