Gangster films have always been a genre on it's own. From 1930 "Little Caesar" onward, anti-heroes were often portrayed as heroes of great proportion. In his directorial debut, John Milius a filmmaker extraordinaire, gives us characters that are "larger, funnier and fuzzier than life". In half real, half fictionalized story of the "Public enemy No.1", wonderful Warren Oates, in one of his greatest roles portrays John Dillinger with unique quirkiness, craziness and boldness giving a singular performance that lifts this movie in an epic sphere. With great performances all around this imaginary, romantic tale holds strong after almost 50 years as one of the outstanding crime dramas in the history of cinema.
The script is full of fabulous, funny dialogue delivered by some of the finest actors of the offbeat Hollywood. Harry Dean Stanton as Homer Van Meter and his observation that "things ain't workin' out" for him as he is about to be executed by a bunch of gun wielding locals, or Steve Kanaly as Pretty Boy Floyd admitting in his final moments that he "have sinned, but enjoyed it", while stating that "it's too late for no Bible", with Dillinger being against welfare because "people should work for a living" are the moments that remain with you. Dillinger's sentiment about his girl (Michelle Phillips) and his family, returning for one last look at home he grew up in, brings true emotions in a viewer. A fabulous eye for a period detail (the Depression countryside in vintage cars to vintage music), stunts and action sequences looking best that I've seen in almost five decades of film watching are things that must come hand-in-hand with good script and great acting to make a memorable picture. This is all in, and Milius deliberately makes these characters seem "one dimensional" as many critics noted, but that is what they really were. Criminal minds of that sort are often simple minds expressing themselves only in violence. It doesn't matter what kind of violence, physical, emotional or other. Their depravity is not multilayered so their characters couldn't be portrayed otherwise. Those "caricatures" should be just like they are, and their simplicity and nonchalant, reckless living with tongue-in-cheek dialogue is exactly as it should be. Movie action cross cut with period stills and newspaper headlines, with crispy noir dialogue gives the film a period, realistic look. I don't think it couldn't be any better so even if you're not a fan of John Millus films, and like a good crime picture, don't ever avoid this classic. More than recommended, a real joy!
The script is full of fabulous, funny dialogue delivered by some of the finest actors of the offbeat Hollywood. Harry Dean Stanton as Homer Van Meter and his observation that "things ain't workin' out" for him as he is about to be executed by a bunch of gun wielding locals, or Steve Kanaly as Pretty Boy Floyd admitting in his final moments that he "have sinned, but enjoyed it", while stating that "it's too late for no Bible", with Dillinger being against welfare because "people should work for a living" are the moments that remain with you. Dillinger's sentiment about his girl (Michelle Phillips) and his family, returning for one last look at home he grew up in, brings true emotions in a viewer. A fabulous eye for a period detail (the Depression countryside in vintage cars to vintage music), stunts and action sequences looking best that I've seen in almost five decades of film watching are things that must come hand-in-hand with good script and great acting to make a memorable picture. This is all in, and Milius deliberately makes these characters seem "one dimensional" as many critics noted, but that is what they really were. Criminal minds of that sort are often simple minds expressing themselves only in violence. It doesn't matter what kind of violence, physical, emotional or other. Their depravity is not multilayered so their characters couldn't be portrayed otherwise. Those "caricatures" should be just like they are, and their simplicity and nonchalant, reckless living with tongue-in-cheek dialogue is exactly as it should be. Movie action cross cut with period stills and newspaper headlines, with crispy noir dialogue gives the film a period, realistic look. I don't think it couldn't be any better so even if you're not a fan of John Millus films, and like a good crime picture, don't ever avoid this classic. More than recommended, a real joy!