Every film from Roger Ebert's "Great Movies" essays.
Bonnie and Clyde
They’re young...they’re in love...and they kill people.
Bonnie and Clyde is based on the true stories of the gangster pair Bonnie Parker and Clyde Parker who in the 1930’s began robbing banks in all the main US cities until they were eventually killed. The film takes on the aesthetical movement of New Hollywood.
They say pictures don't lie, but the truth is they can lie as bad as anybody, including Clyde Barrow, who seduces Bonnie Parker with the promise of an exciting life full of sex, wealth, and danger (I guess 1 out of 3 ain't bad). That theme of unfulfilled promise runs deep - take a look at the hilarious sequence with Gene Wilder's Eugene and his girlfriend temporarily taking up with the gang, and the way it ends on a grim anti-punchline that only Bonnie, cursed by foresight, really understands.
The movie's commercial and generic promises ultimately DO get filled, though, with plenty of violent shootouts and chases, including the final one that gives the audience more than they could ever…
Important AND great! That doesn't happen all too often.
This was a long overdue rewatch, and it's actually better than I remembered. The effects might look a bit dated now, but the violence was defining back when.
As for everything else, it's wonderfully casted and every actor is on form, surrounded by great cinematography. What really stuck out for me is the wonderful writing, adding in nostalgia, warmth and humour amidst the action, suspense and bleakness without ever creating a feeling of excess.
And then as your focal point you have the ludicrously beautiful couple with tons of chemistry.
A defining piece of New Hollywood cinema where thirties, depression-era America is filtered through sixties sensibility. Warren Beatty and Faye Dunaway adopt their lead roles expertly and strike a perfect balance between giddy romance and shocking anti-heroics. Through daring innovation, a bold depiction of violence and an iconic finale, Arthur Penn's landmark film changed the face of cinema, inspired a generation of filmmakers and remains powerful today, only three years shy of its fiftieth anniversary.
**Part of the Best Picture Project**
Special 1967 Introduction of: Extreme Violence
If there's any film in the progressive year that was 1967 that truly showed that the times were a changin, it's Bonnie and Clyde. Plenty films before had explored violent lovers doing criminal things (the 1950 noir film Gun Crazy especially comes to mind), but none had explored such young and attractive people doing such violent things and enjoying it. The model for the story would really only be perfected with Terrence Malick's Badlands, but Bonnie and Clyde is every bit as important as it is great.
Analyzing the two performances from leads Warren Beatty and Faye Dunaway as separate would be doing a disservice to how their…
Welles believed that art was born within boundaries, but what did Welles know? An equally bitter Chaplin notes how ''talkies'' will never flourish in a parallel scene. "You made me somebody they gon' remember." Nothing is free from romanticization. Penn and Beatty (''don't never leave me without sayin' nothin'.'') had connected the wavelengths of themselves and a nation, an insatiable nation, incarnating fervorous rebellion, the villains took centre stage and the heroes deaths were met with a gust of cheers. And boy, the villains were beautiful. They were real, they did what their hearts desired no matter who was struck down because of it, they weren't what the moving pictures had led all men to believe true men were. A true story of malefactors igniting passion in youth, a passion for cinema reborn, the skyline was beautiful on fire.
I could write a book about this film, one of my all-time favorites. But I'll say on this viewing, after watching the film dozens of times, the attention given to the smallest of emotional changes in characters, within scenes and over the course of the story, is astonishing.
'One time, I told you I was gonna make you somebody. That's what you done for me. You made me somebody they're gonna remember.'
Bonnie and Clyde, put simply, is a serious and tragic story, dressed up in comedy and a frantic energy. It juxtaposes glamour and brutality, humour and despair and thus succeeds in presenting a murderous spree as darkly attractive but inevitably doomed.
The drama is firmly planted around the relationship between Faye Dunaway's Bonnie and Warren Beatty's Clyde. The two share an exciting chemistry, although the attention is drawn mainly towards Dunaway, as she shows both intense pleasure, fear and anger, while Beatty's emotional turns are more frustrating than anything else. He is cool but hardly compelling…
There is a moment in "Bonnie and Clyde" when Bonnie, frightened and angry, runs away from Clyde through a field of wheat, and as he pursues her, a cloud sweeps across the field and shadows them. Seen in a high, wide-angle shot, it is one of those moments of serendipity given to few movies. Today the cloud could be generated by computers; on the day the scene was filmed in Texas, it was a perfectly timed accident of nature.
The cloud carries foreboding; Bonnie and Clyde are doomed, and uneasily realize it. Not long after that scene, Bonnie has a final reunion with her mother. By then Bonnie Parker (Faye Dunaway) and Clyde Barrow (Warren Beatty) are famous outlaws, celebrated…
Well made film but somewhat overrated. There are some bloody sequences which were probably more shocking in 1967. Some humor but not really much of a plot. I liked the opening titles. Several times during the movie you can tell the action has been sped up artificially. I enjoyed the part with Gene Wilder. Estelle Parsons played one of the most annoying characters ever.
Primeiramente, esse sotaque do sul americano é demais, sempre me diverte. Toda uma romantização da dupla original mas, como depois li sobre a história do casal, não duvido que algumas coisas tenham sido como no filme.
Apesar de tudo, achei o filme levemente atropelado, e a história evolui sem muito nexo. Algumas tomadas não fazem muito sentido. O filme é de 67, se comparado com Cantando na Chuva, de 52, deixa muito a desejar, cinematograficamente. (Opinião de um babaca que nada manja de filmes além do que assiste)
Enfim, divertido, vale a pena se vc curte o estilo.
Inclusive, acho que deveria ver mais filmes de época, ainda há clássicos para ver.
I Like 1967's Bonnie And Clyde.
Beatty's soft lips and Dunaway's exquisite features are compelling enough on their own, but BONNIE AND CLYDE also happens to be a pretty good movie. Iconic story, great action and car chases, funny dialogue, cool fashions. I think it gets a little too bogged down in its side characters though, which takes away from the more interesting relationship between the titular pair.
Also omg baby Gene Wilder I just want to pinch those pudgy cheeks of his oomph
Great flick. Loved the acting and the weird sexual tension floating over everything throughout. I can tell why it's credited with the birth of modern cinema. It's nearly 50 years old, but still holds up with it's camera work, framing, and cuts. A must watch for any fan of cinema.
"You know what you done there? You told my story, you told my whole story right there, right there. One time, I told you I was gonna make you somebody. That's what you done for me. You made me somebody they're gonna remember."
While historically important for its graphic violence, Bonnie and Clyde is far removed from the similarly violent movies of today. The film’s biggest successes are in its quiet moments, of which there are many – the picnics, the bedrooms, the car rides. Like the films that would follow by Dennis Hopper and Bob Rafelson, the film incorporates a similar cynicism regarding the government and the law, depicting the titular criminals as vigilantes not unlike Robin Hood. It is not a glorification of the lifestyle, however, as this is a film of pure hopelessness. The “good” people we see in the film – the family who has been evicted from their home in the beginning of the picture, for example –…
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