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DILLINGER!!


markbeckuaf
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Monogram did it right in this one!!! Wow, what a cast!!! Lawrence "bad boy" Tierney, Marc Lawrence, Elisha Cook, Jr., Eduardo, Ciannelli, Edmund Lowe, Anne Jeffreys!!! Wow! Awesome crime flick, hard-hitting and intense! Thank you for this treat this morning, TCM!

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I enjoyed it too, mark. I think Lawrence Tierney was under-used; that is to say, he did not get as many roles as he should have. He was such a strong screen presence.

I'll never watch *Manhattan Melodrama* quite the same way again. (Apparently the real Dillinger was a big fan of Myrna Loy's.)

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I agree, Miss Wonderly! Tierney should have had so many more opportunities!!!

I also agree that I'll never watch MANHATTAN MELODRAMA the same way, I always see it through the prism of Dillinger for some reason! And wow, what a dame to have the hots for, Myrna Loy!

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This is an effective, if unbelievably cheap, crime film. The shoestring look works to its advantage, leaving viewers to imagine more harrowing images than might have been shown. The stir crazy scene in the hotel room packs a wallop. I like that there are two fine movies by this title. John Milius' 1973 film is outstanding.

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I've only seen Laurence Tierney four times---Dillinger, Born to Kill, Reservoir Dogs, and as Elaine's father in Seinfeld ---and I wish it had been forty. Widmark and Ryan may have been equally convincing killers on the screen, but Tierney walked the walk off it. He seemed like a man who'd steal the nickels off a dead man's eyes, and then shoot him again because they weren't silver dollars.

 

Edited by: AndyM108 on May 1, 2011 5:59 PM

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> {quote:title=ValentineXavier wrote:}{quote}

> You should see *The Devil Thumbs a Ride*. It's one of his best, right up there with *Born to Kill*.

 

That's a great one, I agree!!!

 

Everything he's in is pretty intense because he is! I loved him as Elaine's Dad on "Seinfeld"! That was hilarious!

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DILLINGER also boasted a score by Dimitri Tiomkin. Tiomkin did a lot of these independent features during the 40's because he was allowed to conduct the orchestra, unlike Columbia (Stoloff), Universal (Previn) and, early on at Warners (Heindorf).

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