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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…
Pales by comparison to They Live by Night and Gun Crazy...but is still pretty terrific, which just goes to show how durable the criminal-lovers genre is. Its greatest achievement, perhaps, is that it rarely plays like a biopic, coursing with the brash energy of pulp fiction (not Pulp Fiction); Beatty and Dunaway both give heightened, self-consciously iconic performances that seem little indebted to the real-life Barrow and Parker, often behaving very much as if they know that they're being filmed (without doing anything stupid like actually breaking the fourth wall, thankfully). And the movie is full of weird little grace notes I'd forgotten from my sole previous viewing half a lifetime ago, like C.W.'s dad being angrier about his…
Roger Ebert's The Great Movies: #1
Not my absolute favorite of the better known New Hollywood productions, but I'll give credit where it's due. Without 'Bonnie and Clyde', American cinema would be astronomically different.
I am sort of pissed that Estelle Parsons got an Oscar for basically screaming like a fucking banshee the whole movie, though.
Finally got round to watching this after so many years reading how it started the whole New Hollywood era...and it was pretty great.
Beatty is very charming even with false teeth and I was surprised how good Dunaway was. Has a good sense of humour (i.e. hillbilly music) but also a dark nihilistic streak. Very good comment on celebrity culture and Clyde's inadequacies in the bedroom department is portrayed in an interesting light. Lots of great character actors (especially Moss) and it had a very fun freewheeling spirit to it, causing me to sometimes forgot the famous ending.
However it feels a bit overlong and meandering at times, i got a bit distracted some parts. A good solid film but not one of my favourites of that era, much prefer Badlands.
The entire cast is terrific. A tiny bit slow in a few places, but overall well paced. Fascinating look at some terrible bank robbers that were excellent at killing people and becoming well known. And the dangers that come with all of it.
Interesting New Hollywood movie. Some great scenes, good cinematography. But more of interest considering when it was made and why it is important, than as a fun good movie to watch.
I had nightmares about the last scene for 4 years but I love this film
Gene Wilder just cannot not be funny
"Some day, they'll go down together
They'll bury them side by side
To a few, it'll be grief
To the law, a relief
But it's death for Bonnie and Clyde."
All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…