This solid, efficient, very low-budgeted little film deserves to be as well-known as other 1940's "Poverty Row" films such as Ulmer's DETOUR. In fact, it's much better than DETOUR- the King Brothers sense of narrative economy and relentless, fast-paced storytelling make this a compelling ride throughout, while Ulmer's film only really gets interesting once Ann Savage shows up.
Tierney is fascinating, frightening and utterly dominating as Dillinger, and he barely even has to raise his voice to do so. Debates still rage over whether or not the real John Dillinger was a Robin Hood style thief or a vicious killer. Tierney plays more towards the vicious killer angle, though his eyes are both suspicious and strangely sad.
The film, made for Monogram, was very low budget and it shows. However, this benefits a film like DILLINGER. Set in the Depression and with much of the sequences filmed on location, the film seems to breathe authenticity even if it does take a few liberties with the Dillinger story. The atmosphere Nosseck conveys is dark, foreboding and very noirish.
The film is very well-cast, with such unforgettable tough guys like Cianelli and the not-so-tough Elisa Cook Jr filling out the supporting slots. Anne Jeffreys does very well as Dillinger's gun moll and I was pleased that Nosseck's film didn't take the "Hollywood" route and turn events into a love story. The most memorable supporting player, however, is Edmund Lowe as Specs Green. Lowe, a veteran of many films, gets one of his best roles here.
I also enjoyed how Nosseck (because, I suppose, due to the Hayes Production Code, but he also cuts away when he has the opportunity to show more violence) cuts away from some of Tierney's most violent acts, such as glassing a waiter and killing a double-crossing gang member with an axe. This narrative efficiency (rather than have a prolonged scene of a man screaming in agony he cuts away, then back again) and sense of letting the audience think for themselves is seldom seen in today's graphic, blood-and-guts cinema. It's a pity more film-makers don't look towards this film and the King Brothers later brilliant effort GUN CRAZY (one of the seminal pictures of the 1940's) for lessons on how to make a tough, raw crime pic with very little fuss and a hell of a lot of bite.
Tierney is fascinating, frightening and utterly dominating as Dillinger, and he barely even has to raise his voice to do so. Debates still rage over whether or not the real John Dillinger was a Robin Hood style thief or a vicious killer. Tierney plays more towards the vicious killer angle, though his eyes are both suspicious and strangely sad.
The film, made for Monogram, was very low budget and it shows. However, this benefits a film like DILLINGER. Set in the Depression and with much of the sequences filmed on location, the film seems to breathe authenticity even if it does take a few liberties with the Dillinger story. The atmosphere Nosseck conveys is dark, foreboding and very noirish.
The film is very well-cast, with such unforgettable tough guys like Cianelli and the not-so-tough Elisa Cook Jr filling out the supporting slots. Anne Jeffreys does very well as Dillinger's gun moll and I was pleased that Nosseck's film didn't take the "Hollywood" route and turn events into a love story. The most memorable supporting player, however, is Edmund Lowe as Specs Green. Lowe, a veteran of many films, gets one of his best roles here.
I also enjoyed how Nosseck (because, I suppose, due to the Hayes Production Code, but he also cuts away when he has the opportunity to show more violence) cuts away from some of Tierney's most violent acts, such as glassing a waiter and killing a double-crossing gang member with an axe. This narrative efficiency (rather than have a prolonged scene of a man screaming in agony he cuts away, then back again) and sense of letting the audience think for themselves is seldom seen in today's graphic, blood-and-guts cinema. It's a pity more film-makers don't look towards this film and the King Brothers later brilliant effort GUN CRAZY (one of the seminal pictures of the 1940's) for lessons on how to make a tough, raw crime pic with very little fuss and a hell of a lot of bite.