All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
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 Barrow who in the 1930s began robbing banks in U.S. cities until they were eventually killed. The film is a major landmark in the aesthetic movement known as the New Hollywood.
Based on the true stories surrounding the famous gangster pair, Bonnie and Clyde tells the story of a young couple who began robbing little stores and eventually banks during the times of the Great Depression, with the help of C.W. Moss and Clyde's brother Buck and his wife Blanche, forming the 'mediatic' Barrow Gang.
Taking into account that Arthur Penn's story keeps a very regular tone and hardly progresses until the powerful finale - 'all we see' is a couple (and their gang) robbing banks during a couple of hours in order to escape from their boring lives - what makes his film so special and so remarkable? Historical importance aside, Bonnie and Clyde is a very charming and incomparably…
Bonnie and Clyde is a red-blooded masterwork. It is the epitome of high-class American cinema, where excess is fine art and absurdity is brilliant poetry. A high-octane attack on high-brow posturing, Bonnie and Clyde is a genuine work of art. It has served as the demented template for all future lovers on the lam stories. It is outrageously pleasurable and super violent, with an inspired sense of gory extravagance depicted in a lovingly unapologetic bias. Bonnie and Clyde is perfect filmmaking at its most meaningful and merry.
Bonnie and Clyde is a hypersexual treatise on young love and juvenile fantasy. It is wild, dangerous, and horny. Bonnie and Clyde is also a disturbed film with an emphasis on repressed and…
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…
"They didn't start chasing us until you put on that getaway music!"
Wow. What a perfect opening sequence. Faye Dunaway sells her character in the first three minutes before even uttering a single line of dialogue.
Actually, the times when this film is at its strongest are the times when nobody says anything. The awkward love making sequence. ("I told you I'm not a lover boy.") C.W. at the wheel, the pair of injured lovers sleeping in the back seat. Mostly, Bonnie's quiet moments of discomfort and seething anger. She is the most interesting character in the film. Dare I say it, the film is more about Bonnie than it is about Bonnie and Clyde.
So many interesting characters walk in and out. At its peak, the Barrow Gang is seven people…
How can you not have a good time watching such an attractive couple doing such terrible dastardly things? The media attention they receive, on top of it, makes it so damn appealing, with the film recognizing that through the many characters picked up along the way. Combining it's forward sexuality with the unprecedented realism in violence at the time makes for quite the memorable experience.
The film's titular characters, Clyde Barrow (Warren Beatty) and Bonnie Parker (Faye Dunaway), meet when Clyde attempts to steal Bonnie's mother's car. Clyde then persuades her to partner up with him in crime, suggestively having her touch his gun. He offers a lavish lifestyle and a way out of her mundane life working as a…
"Bonnie & Clyde" ist gleichzeitig ein knallharter Gangster-Film und eine wirklich bewegende Geschichte zweier Liebender - ohne jedoch in wirkliche Romantik auszubrechen
Irgendwo im Kreuzfeuer der Revolver und der Symphonie quietschender Reifen, wird eine Ära Hollywoods geboren, die noch heute Wellen schlägt.
Meine ersten Haustiere, zwei Wellensittiche, hießen übrigens Bonnie und Clyde. #TheMoreYouKnow
What I Learned:
Being in production of my own Bonnie & Clyde adaptation makes this conflict with my interpretation, I'll probably enjoy it more when mine is finished
"American" behavior: ★★★★★
Pierrot le fou
Truly one of the very best, most American films ever made.
Its heroes' doomed romance is exhilarating. It's a real thrill to watch them come together and raise hell, and when serious violence suddenly erupts the audience surely still flinches. Blood and bullets don't buy as much as they did in 1967 anymore, but you wouldn't know it watching Bonnie and Clyde. It handles its "peculiar idea of lovemaking" by evading explicit discussion or demonstration and packing the film with subtext. It still works.
The cast is on the top of their game. Beatty and Dunaway are sensational and tragic in great whirling turns. Pollard's timid boy steals scenes by holding in what everybody else shouts out. Hackman here is…
Finally rewatched after many years, and seeing all of Penn's other work. The editing and framing seem quite influenced by the nouvelle vague (not as overbearing as Mickey One) but this style is determined by the opening credits-over-photographs and continues with constant posing and aiming (cameras as well as guns)
That last sequence of shots will be burned into my brain forever.
How the hell did Estelle Parsons win an Oscar for just running around and screaming. I already hadn't been feeling well, and she just put me off wanting to enjoy this movie. Beside Faye Dunaway's jump started attitude and sassy charm, I didn't find much to like in the characters.
I think being sick meant I just wasn't in the mood for watching a film when I saw this which meant that everything that I should have loved about this kind of annoyed me. Liked it for what it was though.
This film still moves like a dream in 2016. Faye Dunaway's lust for the thrill of a heist is perhaps the most notable, endearing element to this day. Warren Beatty seems small in comparison to her ambition and wild spirit.
Fun side note: Accidentally sat through this most recent session with f.lux's dim switch on in the evening, which cast the film in a gorgeous yellow-orange glow. It somehow added to the experience.
Good stuff. I liked it.
I hadn't actually watched Bonnie and Clyde in a number of years and while I certainly loved it as a teenager, I think my appreciation for the film is a lot deeper now. The film is famously a landmark for American cinema in that it really pushed the boundaries for violence and sexuality, but that shouldn't make you think this is grotesque and exploitative. The violence here is important and has clear consequences, and the sexuality is also quite mature. The film is also notable in that, like The Graduate, this took the stylistic devices of French New Wave and applied them to American cinema. This is undeniably a stylish crime drama, but it also has a level of authenticity…
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