Jeanskynebu the audience applauded

Smartorhypo Highly Overrated But Still Good

Teringer An Exercise In Nonsense

Quiet Muffin This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

John T. Ryan ..........so said Gramp Maple (character actor, Charley Grapwin in THE PETRIFIED FOREST. With that little bit of dialog, so skillfully delivered in dialect, the supporting player instantly divided the Crime Drama into two Sub Genres; those being the Organized "Mafia" type variety and the Stick-up Guys on the Run type. Obviously we know where this one lies.ONCE AGAIN, TO borrow from yet another film source and reference. we say: "Most of what follows is true." With our tip of the hat and sincerest thanks we owe a debt of gratitude to BUTCH CASSIDY & THE SUNDANCE KID's production team of William Goldman (writer), George Roy Hill (director) and John Foreman & Paul Monash (producers).BUT SO IT is that there is a basically true story being told, albeit one that was either cut down in some respects and yet at the same time, generously embellished in others. With a running time of about 1 hour and 10 minutes, it has a certain economy of story telling that wastes not any footage whatsoever. The on screen story moves and never bores.OF PARTICULAR INTEREST to any film buff who is worth his weight in salt is the assembled cast. The cast is composed of a large group of tried and true veterans of probably hundreds of movies. We have Edmund Lowe, former leading man from the last days of the Silents to the early Talkies, but still a a big enough name to draw attention. Next up as situated in the co-starring status is Anne Jeffreys, who had a long and productive career in film and television.FILLING OUT THE scorecard is a large contingent of guys who were no strangers to Crime Drama. And there certainly must have been a shuttle service operating between the multiple shooting locations and Warner Brothers' Studios. We say this because Marc Lawrence, Elisha Cook, Jr., Ludwig Stossel, Victor Killian and Dewey Robinson were frequent employees (though not exclusive) there.THEN WE HAVE the opening title card that declares "Introducing Lawrence Tierney". This was brief and to the point and certainly a model of brevity. It was also serving notice that his would be a very prolific and successful run in Tinsel Town. Perhaps his ascension to the level of "Star Status" was just a tad short; but he was around for some time, working right up to the year 2000.* ANOTHER INTERESTING OBSERVATION is how this film seemingly has influenced many other movies that followed. As evidence, we present: BONNIE & CLYDE, BUTCH CASSIDY & THE SUNDANCE KID and even WHITE HEAT. That's not to say that this King Brothers Production didn't borrow from others. Just one look at the extensive scenes portrayed as being in prison were carefully crafted after the close study of the best in the genre; that being at Warner Brothers.WELL JUST IMAGINE, all of this from 'Poverty Row' charter member, Monogram Studios! Ain't these Americans clever, Schultz!NOTE: * Mr. Tierney's resume included late career appearances as a regular on HILL STREET BLUES and as the California Angels Manager in THE NAKED GUN: FROM THE FILES OF POLICE SQUAD.

dougdoepke The 60-minutes sort of tracks the infamous career of 1930's bank robber John Dillinger.Tierney is not so much an actor as he is a presence. And not so much a presence as he is a face. In fact, his deadpan expression only changes when he's laughing at a cartoon. Otherwise, that deadpan never changes, whether he's emptying slugs into somebody's gut, or courting his favorite blonde. In short, he's perfect for the cold-blooded killer part.Tierney and director Nosseck may have hated each other, but Nosseck also sharpens the movie with his liking for abrupt violence. That way, you never know when its coming, so you stay tuned. The early part is kind of quiet because Edmund Lowe's cerebral character is running the show. And he doesn't like violence even though the gang's stock-in-trade is robbing banks. But just wait till Tierney takes over, then the bullets fly. Too bad actor Tierney couldn't limit his violence to the movies. I guess he kept Hollywood cops busy with his barroom escapades. One way or the other, he definitely had a distinctive presence about him.Anyway, the movie's an interesting programmer, even though Monogram's bare budget sets undercut much of the staging. Nonetheless, good to see veteran tough guys Lawrence and Ciannelli picking up a payday, along with that fierce rabbit Elisha Cook Jr. Also, catch the always lovely and durable Anne Jeffreys as a blonde floozie, no less. All in all, viewers could certainly do worse than this 1945 programmer.

ccthemovieman-1 This movie has several big things going for it: its short, fast-moving and just plain entertaining. How much more do you want? Also, Lawrence Tierney was made for gangster/film noir movies. He looks the part, acts the part, and was a thug in real life, too. Who better than to portray famous criminal John Dillinger as a cold-blooded killer? This was Tierney's starring debut and it was a good vehicle for him. I also enjoyed Edmund Lowe as the gang boss prior to Tierney taking over. I enjoyed the supporting cast, too: Anne Jeffreys, Elisha Cook Jr., Eduardo Cianelli and Marc Lawrence. All of them add to this film.I was glad they concentrated on the crime part of the film and didn't go crazy with a sappy romance. However, I am sorry Jeffreys wasn't on screen more often. She had the '40s look, if I ever saw it.

MARIO GAUCI Although it would have been much more appropriate as part of a subsequent Gangster DVD Collection from Warners (rather than the Film Noir in which it was included), DILLINGER is a solid B flick buoyed by a fast pace, a bevy of familiar character actors (Edmund Lowe, Eduardo Cianelli, Marc Lawrence, Elisha Cook Jr.) and a terrific turn by Lawrence Tierney in the title role. Although John Milius' 1973 remake is much more factual and despite an over-reliance on stock footage from bigger-budgeted films - like Fritz Lang's YOU ONLY LIVE ONCE (1937) - the film is also notable for an unusual narrative structure for this type of film in that the events are "told" to a theater audience by John Dillinger's father as a warning against the perils of living life on the wrong side of the tracks! This film also proved to be Monogram's most prestigious production as Philip Yordan received an Academy Award nomination for Best Original Screenplay!