... and by that I mean Lawrence Tierney. He is the reason to watch this film. Without him this would be a 5/10 star crime drama that is short on facts and, quite frankly, also short on chills and thrills. With Tierney in the lead you get to see him change along with his character John Dillinger. What an interesting presence he is.
Tierney was a supporting player at RKO at the time, barely noticed in his first couple of years there. The leading role here was supposed to go to Chester Morris, but somebody insisted that Tierney would be good for the role, plus they could get him on the cheap. At poverty row Monogram it was all about economy.
And so in this film you see Dillinger evolve from somebody who wanted to be a broker - in the roaring 20s who wouldn't - to somebody who screws up his first armed robbery in which the weapon is - well - his arm! He is impressed by the big time bank robber who is his prison cell mate for said robbery., busts his cell mate and his gang out of jail once released, and then his viciousness grows with his ambition.
The woman who turns out to be the "lady in red" is his long time companion, actually one of his first stick up victims once he gets out of jail. In fact, Dillinger was far from a one woman man, but her role is needed here. Because you see her grow from fascinated to cold and distant as Dillinger grows more wanton in his blood lust.
As for Lawrence Tierney, this is the only time in any film he's starred in that I've seen where he starts out smiling - sincerely even! - and then develops that "Born To Kill" intimidating stance and visage of his later roles all in about 90 minutes.
Best small scene: Dillinger has just performed a particularly vicious act, in the middle of the night, no witnesses. His girlfriend comes halfway downstairs, witnesses his handiwork, throws a disapproving glance Dillinger's way, and then swirls around back upstairs to her bed. She is dressed in this sexy negligee that reveals nothing and in fact could double as a wedding dress if adjusted a bit. The fact that they are sleeping miles apart along with that glance says more than any dialogue could. The production code did lead to some filmmaking ingenuity in some cases, and this was one of them.
If you ever get hold of the old Warner Brothers DVD of this film, it is worth a second watch for the commentary by John Milius who wrote and directed the 1973 version of Dillinger. Not only does he tell you where this film actually parallels Dillinger's actual life, but he points out how Monogram managed to shoot this film on a shoe string and not have it appear so. He points out where stock footage is used, where sets are redressed and reused, and points out how the intro with Dillinger's father bizarrely appearing in a movie theatre to tell his son's story is a quick and cheap way to get the character's background out there without actually having to film it!
Tierney was a supporting player at RKO at the time, barely noticed in his first couple of years there. The leading role here was supposed to go to Chester Morris, but somebody insisted that Tierney would be good for the role, plus they could get him on the cheap. At poverty row Monogram it was all about economy.
And so in this film you see Dillinger evolve from somebody who wanted to be a broker - in the roaring 20s who wouldn't - to somebody who screws up his first armed robbery in which the weapon is - well - his arm! He is impressed by the big time bank robber who is his prison cell mate for said robbery., busts his cell mate and his gang out of jail once released, and then his viciousness grows with his ambition.
The woman who turns out to be the "lady in red" is his long time companion, actually one of his first stick up victims once he gets out of jail. In fact, Dillinger was far from a one woman man, but her role is needed here. Because you see her grow from fascinated to cold and distant as Dillinger grows more wanton in his blood lust.
As for Lawrence Tierney, this is the only time in any film he's starred in that I've seen where he starts out smiling - sincerely even! - and then develops that "Born To Kill" intimidating stance and visage of his later roles all in about 90 minutes.
Best small scene: Dillinger has just performed a particularly vicious act, in the middle of the night, no witnesses. His girlfriend comes halfway downstairs, witnesses his handiwork, throws a disapproving glance Dillinger's way, and then swirls around back upstairs to her bed. She is dressed in this sexy negligee that reveals nothing and in fact could double as a wedding dress if adjusted a bit. The fact that they are sleeping miles apart along with that glance says more than any dialogue could. The production code did lead to some filmmaking ingenuity in some cases, and this was one of them.
If you ever get hold of the old Warner Brothers DVD of this film, it is worth a second watch for the commentary by John Milius who wrote and directed the 1973 version of Dillinger. Not only does he tell you where this film actually parallels Dillinger's actual life, but he points out how Monogram managed to shoot this film on a shoe string and not have it appear so. He points out where stock footage is used, where sets are redressed and reused, and points out how the intro with Dillinger's father bizarrely appearing in a movie theatre to tell his son's story is a quick and cheap way to get the character's background out there without actually having to film it!