History John Dillinger, and like many of his fellow generational criminal environment has been so upset and sweetened with the passage of time it takes for both distinguish legend from reality, as a western. So begins Max demystifying Nosseck tape, full of many virtues and errors, especially the absence of a character in a drama that will motivate and flat staging of the filmmaker. While images are projected in a movie recounting the misdeeds of the romantic thief, the public looks at these with expectation, since the dish of the night is about to appear: the father of the star, who begins to narrate before the astonished audience how was the life of your child. We can see a clear intention of the filmmaker and writer in the spatial location: a documentary linking the word of someone who, under normal conditions, could not lie about the life of Dillinger , ie, the claim of the tape is to draw the portrait as verismo (almost objective, in the manner of Zodiac ) on a figure that throws so much light and shadows and mythomaniacs historians. But just as we must again look at the location of the character, the focus of a movie theater: the screen. Contrary to Godard, the film is 24 lies per second, and if not lies, deceit and half truths if, and this movie is not nothing but a great half-truth that takes a lot of famous events in the life of this criminal but that he drops his pretense of reality to end up being a mediocre action movie quickly forgets his characters .
Dillinger is presented as a trigger-happy psychopath bloody but not justified solely because. There is therefore a mythologizing and sweetened version of the legend, on the contrary, somewhat surprising at the time, since we are not proposing the classic vision of a modern Robin Hood charismatic, if not the life of a patient desglamourizada revenge that is capable to kill in cold blood after playing with the victim, and even as a coward who is afraid of the dentist's chair. But all are mere sketches that are sensed and are never displayed. Tierney's interpretation is reduced to an angry face, while making saves paper that counted for a few moments, go through the mind of the thief, especially in the minutes before his death, lurking like a wounded animal in its burrow. We therefore have many side only act as puppets of Dillinger but have no vocation of character, are only turned into actants whose function is to die or betray the protagonist. Especially curious is the case with Specs, who introduces him to the crime world Professional (formerly a bumbling thief who stole to pay for drinks for women, his real weakness and the cause of their woes, another thing not being exploited). Their relationship is perhaps the best set in the script (being very generous), and yet forging a quick and inexplicable, and a leak so we have the player in the group of thieves. Nosseck narrates, describes and narrates and does not stop at any time to analyze why you're telling, for example, in case bleeding from the important (and most overlooked) antihero relationship with his mistress, just as do not know why they decide to go out with the guy who stole it. Therefore, we to fully contextualize the diffuse and complex to follow. Coping
narrative tempo of a film is a litmus test of a director. Coincidentally, the Series B Dillinger (even say Z series) was released the same year the master Detour, Ulmer. In it, the Swedish filmmaker showed extraordinary talent when it comes to dilate and contract the time at will. The psychological game in which Tom Neal plunged to a small production ended becoming irrelevant in a thriller studied and imitated for his outstanding staging and sound script. In Dillinger, the constant use of ellipses makes the temporal notion is unclear and the feeling that the scenes never really goes no relevance, since some of them fail, not 30 seconds. In the first five minutes we saw as the main character has won for the first time, entered the prison and has left it. The story ends up in a chained sequence of robberies and murders without rhyme or not bored too much due to celerísimo assembly and the short story, since it take two hours at this pace would have made mediocre German filmmaker in a clear precursor Michael Bay. We can only emphasize a remarkable moment where the director lets out a bright idea as ingenious gag which looks set to steal, and the intelligent use of off-camera, ended up seeing that it is a ticket (curiously, this personal capacity, was an idea that first race rolled on to a practice, so I'll throw flowers), or the transition intelligent escape from prison chained protagonist's buddies with a bank robbery. In contrast, some moments that should be peaks are resolved in a hurry, probably because of the lack of economic backgrounds, especially theft. If we saw that Melville used a deliberate style to show the criminal actions as a ritual, taking all the time in the world (as witnessed by the 15 minutes devoted to theft The red circle ) Nosseck seems uncomfortable with this time and is loaded at a stroke any epic or suspenseful possible Dillinger becoming a collection of some unimportant scenes.
Dillinger is presented as a trigger-happy psychopath bloody but not justified solely because. There is therefore a mythologizing and sweetened version of the legend, on the contrary, somewhat surprising at the time, since we are not proposing the classic vision of a modern Robin Hood charismatic, if not the life of a patient desglamourizada revenge that is capable to kill in cold blood after playing with the victim, and even as a coward who is afraid of the dentist's chair. But all are mere sketches that are sensed and are never displayed. Tierney's interpretation is reduced to an angry face, while making saves paper that counted for a few moments, go through the mind of the thief, especially in the minutes before his death, lurking like a wounded animal in its burrow. We therefore have many side only act as puppets of Dillinger but have no vocation of character, are only turned into actants whose function is to die or betray the protagonist. Especially curious is the case with Specs, who introduces him to the crime world Professional (formerly a bumbling thief who stole to pay for drinks for women, his real weakness and the cause of their woes, another thing not being exploited). Their relationship is perhaps the best set in the script (being very generous), and yet forging a quick and inexplicable, and a leak so we have the player in the group of thieves. Nosseck narrates, describes and narrates and does not stop at any time to analyze why you're telling, for example, in case bleeding from the important (and most overlooked) antihero relationship with his mistress, just as do not know why they decide to go out with the guy who stole it. Therefore, we to fully contextualize the diffuse and complex to follow. Coping
narrative tempo of a film is a litmus test of a director. Coincidentally, the Series B Dillinger (even say Z series) was released the same year the master Detour, Ulmer. In it, the Swedish filmmaker showed extraordinary talent when it comes to dilate and contract the time at will. The psychological game in which Tom Neal plunged to a small production ended becoming irrelevant in a thriller studied and imitated for his outstanding staging and sound script. In Dillinger, the constant use of ellipses makes the temporal notion is unclear and the feeling that the scenes never really goes no relevance, since some of them fail, not 30 seconds. In the first five minutes we saw as the main character has won for the first time, entered the prison and has left it. The story ends up in a chained sequence of robberies and murders without rhyme or not bored too much due to celerísimo assembly and the short story, since it take two hours at this pace would have made mediocre German filmmaker in a clear precursor Michael Bay. We can only emphasize a remarkable moment where the director lets out a bright idea as ingenious gag which looks set to steal, and the intelligent use of off-camera, ended up seeing that it is a ticket (curiously, this personal capacity, was an idea that first race rolled on to a practice, so I'll throw flowers), or the transition intelligent escape from prison chained protagonist's buddies with a bank robbery. In contrast, some moments that should be peaks are resolved in a hurry, probably because of the lack of economic backgrounds, especially theft. If we saw that Melville used a deliberate style to show the criminal actions as a ritual, taking all the time in the world (as witnessed by the 15 minutes devoted to theft The red circle ) Nosseck seems uncomfortable with this time and is loaded at a stroke any epic or suspenseful possible Dillinger becoming a collection of some unimportant scenes.
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