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Bonnie and Clyde
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Directed by Arthur Penn.
Producer/star Warren Beatty had to convince Warner Bros. to finance this film, which went on to become the studio's second-highest grosser. It also caused major controversy by redefining violence in cinema and casting its criminal protagonists as sympathetic anti-heroes. Based loosely on the true exploits of Clyde Barrow and Bonnie Parker during the 30s, the film begins as Clyde (Beatty) tries to steal the car of Bonnie Parker (Faye Dunaway)'s mother. Bonnie is excited by Clyde's outlaw demeanor, and he further stimulates her by robbing a store in her presence. Clyde steals a car, with Bonnie in tow, and their legendary crime spree begins. The two move from town to town, pulling off small heists, until they join up with Clyde's brother Buck (Gene Hackman), his shrill wife Blanche (Estelle Parsons), and a slow-witted gas station attendant named C.W. Moss (Michael J. Pollard). The new gang robs a bank and Clyde is soon painted in the press as a Depression-era Robin Hood when he allows one bank customer to hold onto his money. Soon the police are on the gang's trail and they are constantly on the run, even kidnapping a Texas Ranger (Denver Pyle) and setting him adrift on a raft, handcuffed, after he spits in Bonnie's face when she kisses him. That same ranger leads a later raid on the gang that leaves Buck dying, Blanche captured, and both Clyde and Bonnie injured. The ever-loyal C.W. takes them to his father's house. C.W.'s father disaproves his son's affiliation with gangsters and enters a plea bargain with the Texas Rangers. A trap is set that ends in one of the bloodiest death scenes in cinematic history. The film made stars out of Beatty and Dunaway, and it also featured the screen debut of Gene Wilder as a mortician briefly captured by the gang. Its portrayal of Bonnie and Clyde as rebels who empathized with the poor working folks of the 1930s struck a chord with the counterculture of the 1960s and helped generate a new, young audience for American movies that carried over into Hollywood's renewal of the 1970s. Its combination of sex and violence with dynamic stars, social relevance, a traditional Hollywood genre, and an appeal to hip young audiences set the pace for many American movies to come. ~ Don Kaye, All Movie Guide
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JakeStevensJakeStevens Dated, But Historically Important
by JakeStevens in JakeStevens Blog
liked it.
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"This is #27 on AFI's 100 Greatest "American" Films list, and deservedly so. Arthur Penn's direction is first rate, Faye Dunaway is friggin' hot as Clyde (reminded me of Julia Stiles a tad), and Michael J. Pollard plays C.W. Moss with a genuine pathos. Gene Wilder's character had me laughing out loud when they steal his car - a great cameo. A little dated, but definitely ahead of it's time. All in all, not bad. " [More]
jlgdrdjlgdrd Bang! "Ya got me pal!" ...
by jlgdrd in Wicked Fun
hasn't rated it.
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"Years ago, a local film critic (living in the Dallas-Ft. Worth Metroplex) dismissed Crimes of Passion by saying, “Why doesn’t Ken Russell just go back to England?” as if this were a legitimate, professional reaction to any film. You just couldn’t help the feeling that she didn’t get it. “It” not being the film itself. It was awful but I don’t think it’s ever okay to pan a film because one’s sensibilities are offended. Or ravaged. Ironically I find myself in a similar situation after viewing Spike and Mike’s Sick and Twisted Festival of Animation. Call it Karmic Justice. I repeatedly wondered if I’d viewed this collection, say, 25 years ago, if I’d have been rolling in the proverbial aisles. Though I’d like to think I’m smarter today. From The Grand Guignol Theatre of 19th Century Paris, to Peter Jackson’s Dead Alive to the Mr. Creosote sketch in Monty Python’s The Meaning of Life, ... " [More]
sarcastigsarcastig Re: What are your favorite endi ...
by sarcastig in What An Ending
loved it.
"I can think of so many perfect endings...In fact, almost all the movies I love have good endings, because I think it's needed to go from liking to loving a movie. But a few that came immediately to mind: *Eternal Sunshine of the Spotless Mind*The Third Man: it's a very long shot of the main female character watching towards the camera, where the main character is standing by his car. It takes about 3 minutes, with the only sound being the great zithar music. Then she gets to the camera, and without even looking at the guy, walks past it and out of the frame. It's hard to explain why it's so perfect, but just watch the movie, it's worth it.*The Passenger: fabulous, and rightfully famous, final scene. I won't reveal anything because you have to try to figure it out yourself*Butch Cassidy and the Sundance Kid, Bonnie & Clyde, and Thelma& Louise. Somehow these "1 pair on the lam" movies tend to end the same way, the only way they can end, but that doesn& ... " [More]
RisseladaRisselada Re: Top 5 Opposites Attract Movies
by Risselada in Filmspotting
loved it.
"Bonnie and Clyde were opposites? I thought from my memory they were two peas in a pod, soulmates. I am probably totally forgetting large portions of this movie though. I do remember loving it though. " [More]
Review by All Movie Guide
All Movie Guide
loved it.
The turning point from Hollywood's moribund studio system to the impending youthquake of the 1970s, Arthur Penn's Bonnie and Clyde (1967) audaciously broke conventions, upset critics, and revealed a young audience's box office power. With its unstinting violence and sympathy for the glamorous, gun-toting criminals, Bonnie and Clyde sharply divided critics over whether it was strikingly innovative or reprehensibly amoral and nihilistic. The increasingly rebellious youth audience, however, embraced the doomed heroes, and both Time and Newsweek recanted their initial negative negative reviews as other critics continued to savage it. Though Warner Bros. had dumped the film, star Warren Beatty badgered the studio into a second release. Bonnie and Clyde grossed over $20 million, landing on the cover of Time as the harbinger of the "New Cinema" as Theadora Van Runkle's costumes inspired a 1930s fashion craze. Heavily influenced by the European art movies of the early 1960s, writers Robert Benton and David Newman intended to make a revisionist gangster movie in the spirit of the French New Wave, to be directed by Jean-Luc Godard or François Truffaut; the film openly sympathized with its glamorous gangsters, who became analogues of hip 1960s counter-culture protestors, and its tone veered unexpectedly between slapstick comedy and serious consequences, galling more conventional critics who wanted the film to enforce a clear morality. Faye Dunaway's strong-willed Bonnie and Beatty's impotent Clyde were hardly a traditional couple, and their gory demise in rapid-fire, slow motion montage went far beyond previous Hollywood bloodshed. Nominated for ten Oscars including Best Picture, Bonnie and Clyde won for Burnett Guffey's cinematography and Estelle Parsons as Supporting Actress. The impact of its violence and youth appeal was confirmed by the ensuing successes of The Wild Bunch and Easy Rider, while outlaw couple films from Badlands (1973) to Thelma and Louise (1991) have ensured its continuing legacy. ~ Lucia Bozzola, All Movie Guide
 



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