Dillinger (1973) Movie. Download or Watch Online.

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Genres:	ActionCrimeDr
Starring:	Harry Dean Stanton, Cloris Leachman, Geoffrey Lewis, Michelle Phillips, Roy Jenson, Richard Dreyfuss, Warren Oates
Director(s):	John Milius
Country:	USA
Year:	1973
IMDB Rating:	6.8
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After a shoot-out kills five FBI agents in Kansas City the Bureau target John Dillinger as one of the men to hunt down. Waiting for him to break Federal law they sort out several other mobsters, while Dillingers bank robbing exploits make him something of a folk hero. Escaping from jail he finds Pretty Boy Floyd and Baby Face Nelson have joined the gang and pretty soon he is Public Enemy Number One. Now the G-men really are after him.

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Visitor Reviews: (20)

Marty Brownd 13 May 2012

"One of the best gangster movies i've ever seen."

If you are into gangster movies this one is it ! Warren Oates excells asJohn Dillinger and he even looks like him. A great cast as well with BenJohnson starring as G-man Melvin Purvis.As far as the video and audiorecording of this movie to DVD. I rate the video a 7 and the audio a 5. Iwish it would've been done in stereo at least but with this said,you'vesimply got to see this movie !

Brian Oosterwyk 12 May 2012

Goes against most conventions of good movie making...

Proof why Hollywood conventions are in place. Stale dialogue,underdevelopedand flat characters and a disjointed storyline are only part of theproblemswith this gangster classic wannabe. An attempt to be daring and differentbut this appears to be a slap-together attempt at recreating the magic ofArthur Penn 's Bonnie and Clyde (1967) and George Roy Hill 's ButchCassidyand the Sundance Kid (1969)- truly innovative filmmakers and films - butfalling well below the bar. Problems with storylines beingself-explanatoryresult in the need for a voiceover to explain problem sections. Theeditingappears again to be an attempt to duplicate the previous classics but isoccasionally disjointed and cause more problems for me technically.Unnecessary shots are thrown in to justify the filming of them but wouldhave better served the viewer by sitting on the cutting room floor.Stills,black & white montages and period music are thrown in from time to time inattempts to either be different or to cover up for scenes that can'ttransition well or to replace scenes that just didn't work at all andagainare reminiscent of Butch Cassidy and the Sundance Kid (1969).Overly dramatic pauses between sentences, random shots of surroundingscenery that wasn't needed for storytelling plus over-the-top acting ofbitplayers and supporting actors was reminiscent of the backyard camcorderdirectors of the late 1980's - I was left wondering who was in charge ofthis film during production and during post-production. The playing ofmusicin most two shots and close-ups and then suddenly stopping in wide shotsoverly emphasized a weak musical score. No sound editing was drasticallyapparent as the bulk of the film was gunshots, doors, footsteps anddialogue(a style used in the late 60's through the mid-70's by new directors) butlacking background noise causing it to seem artificial - particularly thetire squeaks on dirt roads. In my honest opinion the biggest problem ofallis there are no 'likeable' characters for the audience to route for norwerewe lead to see as the protagonists of the story. Neither the gangsters northe lawmen were characters I wanted to see win and neither were focused onas the 'hero'- a necessity for any story to work for me. We know fromPenn'sand Hill's movies who the 'heroes' are. Even though they are criminals, welike them and want to see them get away. I could care less who was on thescreen in this film. I got the impression that John Milius was trying togive off a non-historically accurate reenactment documentary of the eventssurrounding John Dillenger's life from June 1933 to July 1934 (hisdeath).To be fair, there are some moments of good solid storytelling, which aremoments that shine forth brightly from the dark and dismal canister inwhichthis film sits. John Milius gets better thankfully in future films wherehedoesn't seem to try to 'copy' other filmmakers. Dillinger (1973) isn't atotal waste as many stars and famous faces who were at the cusp ofbreakingout are involved with this directorial 'big budget' debut, but wait for iton a classic movie channel rather than spending money to rent or buy.

05 May 2012

Graphic for its time, brilliant even today

Violent 1973 portrait of Depression-era gangster John Dillinger, therelentless effort by the FBI to stop him, and the "folk hero" essence thatsurrounded his glory days. Warren Oates is flawlessly accurate as the titlevillain, and Ben Johnson is equally alluring as Melvin Purvis, the agentbent on getting his man, rounded out by finely portrayed supportingcharacters (such as Richard Dreyfuss as "Baby Face" Nelson and Steve Kanalyas "Pretty Boy" Floyd). Masterful combination of old-school Hollywood actionand new-generation graphic depiction. The perfectly photographed locationsadd to the character's (and the film's) essence. John Milius's directing iscasually brilliant.

Darwin Teague 04 May 2012

Not historically incorrect, hysterically incorrect

I just finished reading a book about Dillinger. This movie was horriblyinaccurate. It's like they got a list of names and just made everythingup. His robberies and getaways were well planned, down to the second -when the time was up, they left whether they had all of the money ornot. They had notes of every road, where to turn, etc. Purvis never sawhim at the restaurant, he was told that Dillinger paid for his mealafter Dillinger left. Purvis never even SAW Dillinger before the nightDillinger was killed, only photos of him. The way his gang members diedwere fictitious. Dillinger never robbed a bank by himself, like he didin this movie. If I had never read the book, maybe I could have enjoyedthe movie. The acting was a bit over the top in places. The action wasoverdone as well. On second thought, I doubt if I would have enjoyed itmuch even if I HADN'T read the book.

jzappa 25 April 2012

A Great Action-Adventure Fantasy

So there have been many movies based on real lives and true storieswhich have taken poetic license, but why do so to such an extent whenthe real lives and true stories are head over heels more intriguing andsurprising? For instance, think about the John Milius rendering of theMelvin Purvis raid on Little Bohemia lodge. Real life accounts leave noreservation that it was a disaster. But Milius spends a full 10 minuteson gunplay. Special agents collapse apparently by the dozens. Werethere enough G-men in the Midwest to supply extra bodies for such abloodbath? No, it seems more like Milius went nuts on the scene andtowed in extras by the truckload so that he could kill them with thoseskillful little discharging blood pods.This, more like Milius' Last Picture Show, is just another moviewritten and directed by a man with an obsession with firearms who playsfast and loose with the facts. As Purvis, Milius has cast Ben Johnson,and it's an bewildering choice. Johnson is measured, laid-back andcallous, and swears to take Dillinger himself. Before going intocombat, he has a formal procedure: An assistant agent gives him histwin handguns and lights his cigar. This behavior is the farthest thingfrom the real Purvis Milius could've ever gotten. Or the real Baby FaceNelson, for that matter, who was never a guy you could just slap aroundand make cry. How stupid. Also Dillinger himself, like many Chicagoans,in July went to the movies as much to evade the high temperature as tosee the flick, and the burdensome overcoats worn by the FBI are out ofseason.But this is all fine and I dismiss it readily. While Warren Oates isstunning in his physical resemblance to the eponymous anti-hero, whichis of course a genetic accident, he also charges the piece withincredible oomph and blistering force. It's a great performance,surrounded by quite a few others. And more than a story about theAmerican gangster, it's a blast of Milius' imaginary outrage towardliving during the Depression and rising up against the oppression. Yes,Milius, with his men's men and indulgent shootouts, is often comparedto Peckinpah. And while the comparison is apt, most are content to pinhim down as merely a Second Amendment-lovin' reactionary, and leave itat that. But there can hardly be a dramatist who's not in some sense ahumanist, an observer of humanity's inclinations.The mantra for the film (quite literally at one point) becomes "hardtimes." Dillinger doesn't have to do much scheming to stumble on eageraccessories or make a prison warden take his cut of a robbery madeimmediately after escape. As a Dust Bowl vagrant child observesreasonably enough, the one distinction between the robbers and thelawmen is that you have to go to school to be the latter. And whatyoung boy likes school more than guns and money? There's no stylizedpleasure extracted from seeing anyone get shot here. Characters screamin anguish as they die, and no one dies unproblematically. It's a filmthick with unanticipated poignancy, Dillinger's return to anacquiescent, heartbroken, patient father, or Harry Dean Stantonuttering that "things ain't workin' out for me today" in a way thatindeed no one else could.Like other Movie-Brat suggestions of the 1970s, it's also a story ofcinematic fathers and sons: To Milius, and to Bogdanovich andSpielberg, Johnson indicates the olden Ford and Waynes the next filmgeneration at once admires and challenges. Milius' explosions ofchaotic modernization is varied with a nostalgia for the propriety offilm's past.

mw1561 24 April 2012

a lot of machine guns

Had I one dollar for every burst of machine gun fire then I'd be a richman. The actors in this film are talented people with good resumes, butthat it the only positive comment I can make about this film. Cheap,trashy exploitation that wants us to feel sympathetic for JohnDillinger.In these types of movies I am amazed at the gall of the director. Inscene after scene Dillinger is involved in machine gun battles withpolice, and yet he is never touched. While the film might be somewhataccurate from a historical perspective, I am fairly certain that thegun battles did not take place as brazenly as the film suggests. Thereis no way that a person could stand in the open without cover, and havenumerous police officers firing at them from a close distance and notget hit. While it might make for good action scenes, it defies reality.And the was also no attempt to explain the love interest betweenDillinger and his "moll". One minute they meet, and the next she is hiswoman. Perhaps they could have shortened the gun battles and fleshedout the romantic entanglements a little.

Tim-130 24 April 2012

A fine film...

I watched this for the first time in years after picking up the WidescreenDVD in the bargain bin. As a youngster, I remember many of these films forthe bloodletting. How we used to talk them up afterwards. Often I'mdisappointed after watching it many years later. 'Hey, that's not how Iremember it. Well, 'Dillinger' isn't one of those films. This is a fine film, in fact,it's probably the number 2 film, behind 'Bonnie And Clyde' from that timethat portrayed the Depression Era robbers. Warren Oates is excellent. He didn't get the chance very often to play thelead, but this was an excellent chance for him to bust out a little. Andthere are lots of recognizable actors in smaller roles. But this is Warrennearing his peak.It's as exciting as I remember, actually better then I remember. Well pacedwith a couple of slower interludes, that towards the end are kind of framedtogether. If you get a chance watch this film. You'll be pleasantlysurprised.Oh and this DVD has the original 'We're In The Money' opening credits, plusit has the diclaimer at the end after the feature is over.I gave it a 7 out of 10.

Lechuguilla 24 April 2012

Public Enemies

G-man Melvin Purvis (Ben Johnson) chases bank robber John Dillinger(Warren Oates) high and low, in this Depression-era action flick that'sheavy on gunfights and short on character development. Throughout thefilm, a herd of other public enemies, including Harry Pierpont, HomerVan Meter, Baby Face Nelson, Pretty Boy Floyd, among others, stampedethe plot, diverting us away from Dillinger the man. It's as if allthese hoodlums suddenly exploded on the scene, without benefit of achildhood or motivation of any kind, and one of these hoodlums justhappened to be Dillinger.Multiple shootouts go on and on and on. Bang, bang, bang ... dyingbodies jerk, squirm, twitch, and lurch, with lots of blood. Antiquatedautos zoom away at twenty miles an hour, tip over, crash, and blow-up.And Purvis smokes lots of cigars.Another irritation is the casting of Warren Oates. He looks way too oldto play Dillinger. An unknown, younger actor would have been moreconvincing.On the other hand, the film's color cinematography and terrificproduction design create an authentic 1930s look and feel, helped alongby era songs, like "Red River Valley" and "Happy Days Are Here Again".The outdoor scenes, especially, with those dirt roads and cheap framerural houses, convey a dreary, lonesome, forlorn mood, totally inkeeping with the poverty and hopelessness of that period.My impression of this film is similar to that of the more recentDillinger film "Public Enemies" (2009). Both films lack focus onDillinger. Both get carried away with action. And both do a great jobwith the Depression-era style. That is to say, in "Public Enemies" andin "Dillinger", the strength is the visuals; the weakness is mainly thescript.

Wizard-8 22 April 2012

The direction is fine, the period detail is fine, the actors are fine, the script - well, uh...

While not without interest (such as some good action sequences), I can'thelp but be somewhat disappointed by the movie. Although it claims to be akind of biography of Dillinger, you learn very little about him. The moviestarts in the middle of his crime spree, so you don't see what lead him intothat life. And from what you see of him here, he comes across little betterthan a gun-happy thug who is into abusing his girlfriend - surely the realDillinger was more interesting than that. For that matter, you learn little (if anything) of Melvin Purvis or theother real-life figures involved here. They are all pretty bland characterswho have one role, either to pursue and eliminate evil, or escape from thelaw and rob banks. In fact, it's near impossible to tell the Dillinger gangmembers apart! The script is not just weak in giving character development, the story isalso poorly told, with the story jumping around from place to place beforewe can catch our breath and properly digest what happened. Charactersdisappear and suddenly appear, and the story often jumps months aheadwithout bothering to tell us what happened during thattime.This was Milius' first job as a director. He got the job only because A.I.P.offered him his long-dreamed goal of directing if he also wrote the script.I cannot help but think that Milius was so occupied in preparing to direct,that he didn't give himself enough time to polish his script.

ccthemovieman-1 22 April 2012

Another Good Dillinger Movie, With A Reservation

Like his predecessor in this role (Lawrence Tierney), this JohnDillinger - Warren Oates - also looks the part. Oates is arough-looking ugly mug and convincing in the lead role. Speaking ofmugs, also included in this gangster flick are a few other criminals ofthe era: Baby Face Nelson and Pretty Boy Floyd.Ben Johnson, meanwhile, is interesting as Melvin Purvis, the FBI whotracks down the famous Public Enemy Number One. Johnson also narratesin part of the film.Oates does a fine job of playing Dillinger. Unfortunately - rememberthis is the '70s, a decade in which the "anti-hero" was a full bloom -the film tends to make this crook into a sympathetic figure. Thescreenwriters tell us, "Hey, folks, see this criminal really wasn't abad guy! Gve him some slack!" Yeah, right.A few minor acting notes: Cloris Leachman gets third billing, but onlyhas a small role at the end as the famous "Lady In Red." MichellePhillips, who made a name for herself as a member of the Mamas andPapas singing group, did a nice job of acting, better than I would haveexpected.I have seen three versions of "Dillinger" and all of them are good,including this one.

ruinously 16 April 2012

Entertaining yarn that is way too long. (Obvious spoilers)

I liked this movie. It's subject matter, the life and death of JohnDillinger, has always interested me. It was nice seeing the stories Ihave read about him be brought to life by a very skilled ensemble cast.The setting is well displayed, especially Dillinger's Ford motorcar andthe Thompson submachine guns.Unfortunately, there are two flagrant errors in this film. The first isway to much dramatic license was taken, and it did not improve uponwhat really went down. The second is the fact that it never justifiesit's running time and would have come off much better if they hadtrimmed some scenes and not included others at all.Those two beefs aren't enough to stop me from recommending it to fansof the Dillinger story, as it does have it's moments. EspeciallyDillinger's escape from Crown Point and the final five minutes at theChicago movie theater where John met his fate.

ca_skunk 15 April 2012

Funny, But Hilariously Inaccurate

The scene at the beginning of the film where the old man at the gasstation treats Homer Van Meter with such contempt is hilarious.Billie Frechette is shown firing a gun at the feds in one scene; itdidn't happen. The end credits say she died a spinster; she was marriedtwice. Harry Pierpont was wounded in an attempted escape from deathrow; three weeks later he was still unable to walk (he'd been shot fourtimes), so they carried him to the electric chair, strapped him in, andthrew the switch.Pretty Boy Floyd was wounded running from the farmhouse, but the woundwasn't mortal. When Purvis asked him about Kansas City, Floyd let gosuch a stream of profanity that Purvis had Agent Herman Hollis shoothim with a Thompson. Hollis had fired one of the rounds that hitDillinger (although not the fatal one), and he and another agent diedwhile mortally wounding Baby Face Nelson in November of that year.The scene outside the Biograph is ridiculous. It was scalding hot,which is why Dillinger and the two women went to an air-conditionedtheater. The movie shows everyone in overcoats, including Dillinger. Hehad on an open-collared shirt and a white straw hat. Purvis didn'tshoot Dillinger at all; the fatal round was fired by an agent broughtup from Texas.I do, however, love the line about Handsome Jack Klutas (who, by theway, attended college, but had no "college degree"): "I knew I'd nevertake him alive. I didn't try too hard, neither." That scene, of course,never happened. Purvis wasn't even there when Klutas was killed.

mgtbltp 14 April 2012

Great Gangster Flick

I picked up this excellent DVD from Amazon the other day. Directed byJohn Milius, this is another great Warren Oates performance as PublicEnemy #1, John Dillinger.The film has a fantastic supporting cast with an equally great Ben "I'mgoing to smoke one of these cigars over each one of these crooks deadbodies" Johnson as G-Man Melvin Purvis in what has to be his bestperformance that I've seen (he practically steals the picture) and alsoMNIN's Geoffrey Lewis as Harry Pierpont, Harry Dean Stanton as HomerVan Meter, Richard Dryfuss as Baby Face Nelson, Steve Kanaly as PrettyBoy Floyd, Frank McRea as Reed Youngblood, Michelle Phillips as BillieFrechette, and Cloris Leachman as the "Lady in Red" The film isentertaining through out, as good or even better than Bonnie & Clyde.with a lot more action sequences and a minimal love story that doesn'ttie it down.It could have stood to be a little longer and developed the charactersa bit more, it starts in the middle of Dillengers crime spree, so wedon't really find out what drove him in that direction, but since itwas the depression its probably similar to all the wayward biographiesof the gangsters of that time period. Its a little loose with theactual facts, Harry Pierpont was actually executed by electrocution,not killed by the cops on a bridge, and "Baby Face" was killed 4 monthsafter Dillinger. But its a drama not a documentary.There is a sequence near the beginning during a getaway where a womanis brutally run over and the death scene of Baby Face Nelson is not tobe missed, the death grin on Dreyfuss' face is pretty creepy.All in all a great watch & worth it. A must for Warren Oates fans.

Ephraim Gadsby 14 April 2012

A Boy and His Gun

"Bonny and Clyde", the movie, transcended its tale of two small-timesadistic hoods. "Dillinger", while compressing (and occasionally skirting)facts, presents a much more down to earth and realistic view of its subject. In real life, John Dillinger was a wisecracking and likable thief. Thoughconsidered a "Robin Hood" type, he he only robbed from the rich (banks)because they had the money, and he didn't "give to the poor" but kept themoney. Personable, with a twinkle in his eye, his exploits made thrillingreading to ordinary, law abiding citizens mired in the Depression. At firstDillinger tried to avoid violence, especially against by-standers; but ashis career advanced and some of his bank jobs backfired, the violencestarted and escalated. When he mixed up with psychopaths like "Baby Face"Nelson (played with wonderful panache here by Richard Dreyfus), hisreputation for non-violence soured. Eventually Dillinger committed afederal crime (crossing state lines in a stolen car) and the FBI in theperson of Melvin Purvis, a man often as colorful as Dillinger, pursuedhim.The story of Dillinger and Purvis is played here with good humor, as befitsthe tale of a man who busted out of prison with a wooden gun he carvedhimself, and who often charmed even his wardens. But also the movie depictscallous violence. Supported by an superb cast of rising stars, Warren Oatesand Ben Johnson work magic with their roles, which are among the best oftheir long and sometimes less than lustrous careers.

helpless_dancer 14 April 2012

Gimme all the dough!

One of my all time fave actors played the gun toting thug to the hilt.Also,Ben Johnson was excellent as the obsessive detective dedicated to bringingthe hellraising criminal to justice. He did cheat a tad but got the jobdonewith no tears being shed for the hoodlum. Very good action film: I'llneverforget the huge cringe I gave when the getaway car ran over a woman anddragged her beneath it for a ways. This was Oates doing some of his bestwork.

13 April 2012

An exciting action movie

This is one of the best action movies ever made. Warren Oates is perfect inthe role of Dilinger and the film's rough, violent and fast-paced actionsequences remind me of Walter Hill and Peckinpah. A very goodentertainment.

joseph rinando 06 April 2012

shooting in abundance!

i recently saw the dvd print on dillinger, now available from amazon.com,released by mgm home video. on amazons web page they describe the picturequality as washed out looking, too much browns etc. however i owned a 16mmprint of this title in widescreen in the 1970s. the picture quality wasthesame as the dvd. the dvd being sharper. i believe american-internationalmade this picture with this sepia tone to make it look like the 1930s. oneof their other releases a bullet for pretty boy released about the sametimehad the same look to it. the film itself is an action buffs dream cometrue.shooting in abundance, bloody shootouts throughout. john melius first filmand a true action classic, even though it glorifies dillinger asinvincable,warren oates plays it to the hilt. possibly his best performance. if youlike lots of gunplay this is your cup of tea. respectfully, yours at themovies joe rinando.

Theo Robertson 05 April 2012

Inaccurate But Still A Good Movie

Reputation is a strange thing . Take John Dillinger for example . He waspublic enemy number one during the fledgling FBI`s war against organizedcrime gangs . He was a nasty piece of work who committed the murder of aChicago policeman called O`Malley but that why he wasn`t public enemy numberone , he was public enemy number one because he robbed banks , he was aprolific bank robber during an era when banks repossessed homes andbusinesses at the merest hint of not paying back loans , many hard workinghonest American citizens found themselves destitute because of the greed ofbanks in depression hit America . To many people bank robbers at this timewere viewed as Robin Hood types ( Even though they weren`t too keen ongiving to the poor ) and there does seem to be some very slight injustice inJohn Dillinger being public enemy number one when he was far from being theworst criminal in America . Hell he wasn`t even the worst member of theDillinger gang John Milius bio pic of DILLINGER is fairly inaccurate , for example MelvinPurvis wasn`t as portrayed here middle aged but a fairly young man , butMilius is a first rate director even though he`ll always be remembered forwriting the screenplay to APOCALYPSE NOW . Despite not having a massivebudget his shoot out scenes are bloody and brutal and reminded me of therecent Ridley Scott bloodfest BLACK HAWK DOWN . He also uses a very strikingvisual style for exposition featuring a montage of newsreel , stock footage, still photos and newspaper headlines . Milius also casts well by hiringBen Johnson ( Despite being too old for the role ) , Warren Oates , HarryDean Stanton , Geoffry Lewis and Richard Dreyfuss , all fine characteractors in a fine - though rather violent - gangster film

lastliberal 05 April 2012

This could be one of the big moments in your life. Don't make it your last.

If I am looking for a tough bank robber, I could not find a better onethan Warren Oates. His portrayal of John Dillinger was spot on. He hasthe gangster look; no baby face for him.The question throughout was whether Dillinger was the mostself-absorbed or was it Melvin Purvis (Ben Johnson), the man who smoked50 cent Montecristos while he chased Dillinger and others. 50 cents in1933 was a lot of money for a cigar! Lots of shooting and lots of bloodin this film that also featured singer Michelle Phillips, ClorisLeachman, Geoffrey Lewis, and Richard Dreyfuss.There are a lot of laughs in the film, too. It was a good story thatkept you interested until the end.

RONALD B. RAFF 04 April 2012

"This could be one of the biggest day's of your life.........don't make it your last."

What makes "Dillinger" an edge of your seat actioner is Warren Oates'tongue in cheek portrayal of the legendary bank robber. Oates staggersback and forth between being likable and cold blooded, much like thereal John Dillinger. His character development is masterfully on key.The supporting cast of Richard Dreyfus, Michelle Phillips, Harry DeanStanton and Ben Johnson all play their parts to the hilt. I especiallyenjoyed Johnson's steely eyed portrayal of FBI agent Melvin Purvis.With his no nonsense attitude, he epitomizes the iron fisted stereotypeof the depression era G-Man.The rip roaring gun battles will definitely keep your attention.Director John Milius makes the most of his firearms expertise. Thelegendary shoot out at Little Bohemia displays incredible realism asthe cast is pummeled about by the heavy recoiling Browning AutomaticRifles. Automobile's and people alike are riddled with reckless abandonby the famous Tommy Guns of yesteryear. You could almost swear liveammunition is being used. The audual and visual effects are first ratein spite of the films tight budget.Another interesting aspect is the films digression into semidocumentary mode featuring the exploits of other depression gangsterslike Machine Gun Kelly. We are made aware that the Dillinger gang werenot the only ones terrorizing the Midwest.Costumes, antique cars and sets are historically accurate. The menssuits in particular are quite gaudy and accurately reflect the style ofthose days.There is never a dull moment and the movie paces itself at a rapidclip. While not a masterpiece, "Dillinger" is an accurate andentertaining retelling of the rat-a-tat-tat era.

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