Dillinger è morto

Go to Work, Come Home, Fire a Gun, Sail for Tahiti

There are some sharp ideas tucked alongside the tedious high jinks and rank sexism of “Dillinger Is Dead.” Directed by the Italian provocateur Marco Ferreri (1928-1997), this 1969 curio first popped up at the Museum of Modern Art in 1970 but is only now receiving American distribution. Although it’s easy to see why buyers initially passed on the film, a clumsy attempt to translate radical social theory into cinema, it remains worth a look. That’s largely because its star, Michel Piccoli, is always worth a look, even when he isn’t given much to work with, and because of what the film suggests about the limits of certain types of political art. [...]

di Manohla Dargis, articolo completo (3883 caratteri spazi inclusi) su The New York Times 27 Febbraio 2009