Dillinger Is Dead (1969) - full transcript
Back home, Glauco, an industrial designer, finds his wife in bed with a serious headache. She has left him dinner but it is cold and Glauco decides to prepare himself a gourmet meal. While looking for some kitchenware, he discovers a revolver wrapped in a newspaper dating from 1934 announcing the death of famed mobster John Dillinger.
Look at your mask working.
Now I want to read you
something I wrote:
"Isolation in a chamber where
external communication is impossible
because the atmosphere
is deadly,
in a chamber where
it is necessary to wear
a mask to survive,
is very reminiscent of the living
conditions of modern man."
I don't want to design more of these
"...one can't reflect on this
mythical one dimensional man
without, unfortunately, analyzing
all the characteristics of our
industrial society.
But an effective metaphor could
be very attractive,
clarifying extreme consequences
which are not explicitly mentioned;
Which remain implicit."
"For example, doesn't the fact of
being forced to wear a mask
create a sense of anguish?
The introjection of these obsessive,
hallucinatory needs
does not produce an adaption
to reality,
but mimesis, standardization:
The cancellation of individuality.
The individual transfers the
outside world inside.
There is an immediate identification
of individuals in society
as a single entity.
The needs of physical survival
are met by industrial
production,
which now proposes
as very necessary,
the need to relax,
to enjoy oneself,
to behave and consume
according to advertising models,
which precisely illustrate the
desires everyone can experience.
The cinema, radio, television,
press, advertising
and any other good service
of industrial production,
is no longer directed towards
different destinations."
No, this sentence isn't clear.
"The cinema,
the radio..."
Excuse me.
I already saw them,
they're very entertaining
I'll look at them tonight.
In these conditions of uniformity,
the old alienation becomes
impossible
when individuals identify
with an imposed life-style
and experience self gratification
and satisfaction,
anyone subject to alienation gets
swallowed up by his existence.
They're notes.
DILLINGER IS DEAD
Something wrong?
I have a slight headache.
♪When I see the others
embracing more tightly
♪whilst the sun takes away
♪another day
♪Red sky
♪where are you going?
♪Stay and maybe I too
♪will find love
I'm hungry, I'm going down to eat.
What can I do for you?
Thanks, bye.
- Which would you choose?
- This one... this other one.
- This one's nice too.
- Yes.
Thanks, bring down the others.
- What's your name?
- Anna.
Do you wear lipstick or not?
No, I don't like it much and
my mother wouldn't approve.
- Maybe next year.
- I wear it though.
- And what's your name?
- Lalla.
You wear lipstick and what else?
Blusher, false eyelashes,
eyeliner... everything.
- When do you wear these things?
- When my mother goes out
I call my friends and we go
to the window.
- Why to the window?
- So we can be seen.
By whom?
And you? You've not spoken
yet, what's your name?
- My name's Sheila.
- Do you wear lipstick already?
No, but I will when I'm grown up.
- Good. How old are you?
- Twelve.
- You look older than twelve.
- I know, I'm very tall.
- How tall are you?
- I don't know.
Is your mother okay with you
wearing nylon stockings?
No, she got mad at the idea, but I
started wearing them anyway
and she stopped mentioning it.
- Do you wear a miniskirt?
- Not miniskirts, short skirts
♪Here today, tomorrow where?
♪Here and there, I love freedom
♪No one will take it away from me!
♪For a bit
♪you understood and
♪I decided to stay with you
♪But now you've
♪taken all of me for yourself
♪and soon I'll suffocate
♪Here and there, I love freedom
♪No one will take it away from me!
♪Today here, tomorrow there
♪I like going along like that
♪Without breaks, that's how I live
♪Here and there,
I love freedom
♪No one will take it away from me!
♪I recorded your voice
on two tape recorders
♪that play continuously,
so your voice
♪so your voice stays here
- Good evening, sir.
- Good evening.
Pass me the celery, please.
Thank you
I'm so thirsty!
I'll hang on to the bottle,
I ate stockfish
- 'night.
- Good night.
What are you looking for?
A nail file.
Why don't you come to bed?
Bring me the sleeping pills, please.
Give me two.
I want to sleep.
Glass of water and a hot water
bottle, please.
Good night.
Kiss.
You're the best looking.
Just a moment.
Sabina, do you have a nail file?
It's over there.
Thanks.
Yes?
Who?
Just a moment.
Sabina.
Telephone.
At this time of night?
I'm coming.
Sorry.
Yes?
Fatally.
I can't talk now.
Fatally
...his legend lives on in
everyone's hearts.
Coppi, "The National Fausto"
There was no ascent that
could tire him,
nor steep descent that could
unnerve him,
and he never came second.
Fatally?
Fatally.
Fatally full stop.
Bye.
- At this time of night...
- Take this away.
Oh, excuse me.
Go away! Go away!
Don't film me while I'm playing!
Don't get mad, calm down.
You don't understand anything!
Cut it out with that damned
machine!
You're a monster, that's what
you are!
You don't understand anything
and never have!
You can't get into my brain
with the zoom!
Leave me alone, I hate you!
Go away!
Anita?
Anita?
Where do you want to go?
Who is it?
The Virgin as a baby.
Make room for me.
Why do you find me sexy?
The bed's small.
Listen.
Do you like honey?
- What?
- Honey, to eat.
Get it, it's in the wardrobe.
Are you scared war will break out?
Come on,
come here.
Please, I'm very tired.
Don't tickle me.
Courageous, strong Ermette,
who left the paternal fields
to make the sea your home,
we will miss you.
And above all, you were a good boy.
Rest in peace, amen.
Throw him the sea.
- Who's dead?
- The cook.
Let's go, guys.
- Excuse me.
- The ceremony is over, let's go.
- I'd like to ask you something.
- I don't know, I'm the botswain.
- Don't you need a cook now?
- Of course.
I'm an excellent cook.
Ah, this air!
The sea is my ideal.
- I'd like to sail.
- It's not up to me.
The captain commands, but
the young lady's the boss.
The young lady?
Why don't we ask her?
Look, she's going away.
Why don't we ask her?
Try me out.
My cooking's very healthy.
- You'd be healthy too.
- I don't doubt it.
OK, let's try,
but with no obligations.
I'll accompany you.
Excuse me, miss.
He says he's a cook.
Shall we try him out?
Have him make a chocolate mousse.
Thanks. Thank you very much.
Come on, let's go to the kitchen.
- I was lucky.
- You can see she likes you.
- Where's this boat going to?
- Tahiti.
Seems impossible...
Now I want to read you
something I wrote:
"Isolation in a chamber where
external communication is impossible
because the atmosphere
is deadly,
in a chamber where
it is necessary to wear
a mask to survive,
is very reminiscent of the living
conditions of modern man."
I don't want to design more of these
"...one can't reflect on this
mythical one dimensional man
without, unfortunately, analyzing
all the characteristics of our
industrial society.
But an effective metaphor could
be very attractive,
clarifying extreme consequences
which are not explicitly mentioned;
Which remain implicit."
"For example, doesn't the fact of
being forced to wear a mask
create a sense of anguish?
The introjection of these obsessive,
hallucinatory needs
does not produce an adaption
to reality,
but mimesis, standardization:
The cancellation of individuality.
The individual transfers the
outside world inside.
There is an immediate identification
of individuals in society
as a single entity.
The needs of physical survival
are met by industrial
production,
which now proposes
as very necessary,
the need to relax,
to enjoy oneself,
to behave and consume
according to advertising models,
which precisely illustrate the
desires everyone can experience.
The cinema, radio, television,
press, advertising
and any other good service
of industrial production,
is no longer directed towards
different destinations."
No, this sentence isn't clear.
"The cinema,
the radio..."
Excuse me.
I already saw them,
they're very entertaining
I'll look at them tonight.
In these conditions of uniformity,
the old alienation becomes
impossible
when individuals identify
with an imposed life-style
and experience self gratification
and satisfaction,
anyone subject to alienation gets
swallowed up by his existence.
They're notes.
DILLINGER IS DEAD
Something wrong?
I have a slight headache.
♪When I see the others
embracing more tightly
♪whilst the sun takes away
♪another day
♪Red sky
♪where are you going?
♪Stay and maybe I too
♪will find love
I'm hungry, I'm going down to eat.
What can I do for you?
Thanks, bye.
- Which would you choose?
- This one... this other one.
- This one's nice too.
- Yes.
Thanks, bring down the others.
- What's your name?
- Anna.
Do you wear lipstick or not?
No, I don't like it much and
my mother wouldn't approve.
- Maybe next year.
- I wear it though.
- And what's your name?
- Lalla.
You wear lipstick and what else?
Blusher, false eyelashes,
eyeliner... everything.
- When do you wear these things?
- When my mother goes out
I call my friends and we go
to the window.
- Why to the window?
- So we can be seen.
By whom?
And you? You've not spoken
yet, what's your name?
- My name's Sheila.
- Do you wear lipstick already?
No, but I will when I'm grown up.
- Good. How old are you?
- Twelve.
- You look older than twelve.
- I know, I'm very tall.
- How tall are you?
- I don't know.
Is your mother okay with you
wearing nylon stockings?
No, she got mad at the idea, but I
started wearing them anyway
and she stopped mentioning it.
- Do you wear a miniskirt?
- Not miniskirts, short skirts
♪Here today, tomorrow where?
♪Here and there, I love freedom
♪No one will take it away from me!
♪For a bit
♪you understood and
♪I decided to stay with you
♪But now you've
♪taken all of me for yourself
♪and soon I'll suffocate
♪Here and there, I love freedom
♪No one will take it away from me!
♪Today here, tomorrow there
♪I like going along like that
♪Without breaks, that's how I live
♪Here and there,
I love freedom
♪No one will take it away from me!
♪I recorded your voice
on two tape recorders
♪that play continuously,
so your voice
♪so your voice stays here
- Good evening, sir.
- Good evening.
Pass me the celery, please.
Thank you
I'm so thirsty!
I'll hang on to the bottle,
I ate stockfish
- 'night.
- Good night.
What are you looking for?
A nail file.
Why don't you come to bed?
Bring me the sleeping pills, please.
Give me two.
I want to sleep.
Glass of water and a hot water
bottle, please.
Good night.
Kiss.
You're the best looking.
Just a moment.
Sabina, do you have a nail file?
It's over there.
Thanks.
Yes?
Who?
Just a moment.
Sabina.
Telephone.
At this time of night?
I'm coming.
Sorry.
Yes?
Fatally.
I can't talk now.
Fatally
...his legend lives on in
everyone's hearts.
Coppi, "The National Fausto"
There was no ascent that
could tire him,
nor steep descent that could
unnerve him,
and he never came second.
Fatally?
Fatally.
Fatally full stop.
Bye.
- At this time of night...
- Take this away.
Oh, excuse me.
Go away! Go away!
Don't film me while I'm playing!
Don't get mad, calm down.
You don't understand anything!
Cut it out with that damned
machine!
You're a monster, that's what
you are!
You don't understand anything
and never have!
You can't get into my brain
with the zoom!
Leave me alone, I hate you!
Go away!
Anita?
Anita?
Where do you want to go?
Who is it?
The Virgin as a baby.
Make room for me.
Why do you find me sexy?
The bed's small.
Listen.
Do you like honey?
- What?
- Honey, to eat.
Get it, it's in the wardrobe.
Are you scared war will break out?
Come on,
come here.
Please, I'm very tired.
Don't tickle me.
Courageous, strong Ermette,
who left the paternal fields
to make the sea your home,
we will miss you.
And above all, you were a good boy.
Rest in peace, amen.
Throw him the sea.
- Who's dead?
- The cook.
Let's go, guys.
- Excuse me.
- The ceremony is over, let's go.
- I'd like to ask you something.
- I don't know, I'm the botswain.
- Don't you need a cook now?
- Of course.
I'm an excellent cook.
Ah, this air!
The sea is my ideal.
- I'd like to sail.
- It's not up to me.
The captain commands, but
the young lady's the boss.
The young lady?
Why don't we ask her?
Look, she's going away.
Why don't we ask her?
Try me out.
My cooking's very healthy.
- You'd be healthy too.
- I don't doubt it.
OK, let's try,
but with no obligations.
I'll accompany you.
Excuse me, miss.
He says he's a cook.
Shall we try him out?
Have him make a chocolate mousse.
Thanks. Thank you very much.
Come on, let's go to the kitchen.
- I was lucky.
- You can see she likes you.
- Where's this boat going to?
- Tahiti.
Seems impossible...