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rationalize the development of the Federal Bureau of Investigations ( | rationalize the development of the Federal Bureau of Investigations ( | ||
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[[error]] | [[error|F.B.I.]] | ||
) | ) | ||
and subsequently increasingly sophisticated (and invasive) techniques of | and subsequently increasingly sophisticated (and invasive) techniques of | ||
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which were subsequently questioned in court by actor/historian | which were subsequently questioned in court by actor/historian | ||
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[[studs-terkel]] | [[studs-terkel|Studs Terkel]] | ||
). Ferreri's film ends with the | ). Ferreri's film ends with the | ||
central character inexplicably uxoricide by shooting his wife in the head and boarding a | central character inexplicably uxoricide by shooting his wife in the head and boarding a | ||
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"downtown brown". | "downtown brown". | ||
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Revision as of 23:08, 11 March 2024
Dillinger is Dead
[related: Papeete, John Herbert Dillinger]
A 1969 film by Marco Ferreri starring Michel Piccoli, Anita Pallenberg, and
Annie Girardot remarkable for its juxtaposition of domestic banality and ultra
violence. Here "Dillinger" refers not to the film's protagonist but to the Great Depression-era John
Herbert Dillinger, infamous for his gangster bravado and flamboyant
personality. The federal government used the pursuit of Dillinger to
rationalize the development of the Federal Bureau of Investigations (
F.B.I.
)
and subsequently increasingly sophisticated (and invasive) techniques of
interrogation and surveillance (the legality of
which were subsequently questioned in court by actor/historian
Studs Terkel
). Ferreri's film ends with the
central character inexplicably uxoricide by shooting his wife in the head and boarding a
boat to Papeete, Tahiti, a locale associated largely with artist Paul
Gauguin's depiction of prepubescent nascent sexual deviance - the black sand
of its beaches later becoming slang (see: Urban Dictionary) for various
narcotics
including heroin, morphine, and
"downtown brown".