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.
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…
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…
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…
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.
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.
Certainly lives up to its epochal reputation.
Arthur Penn is a good choice for director, as I feel he handles the disparate comic slapstick lightness and polarised shocking extremes of the spectrum of cinematic violence with a beautiful balance, and that is certainly the case here. It isn't easy to pull off, but Penn generally gets it right. His style here is also perfectly complemented by Guffey’s georgeous autumnal cinematography. It really brings dust bowl era Texas to life, and enhances the period and all-American aspect of this film immeasurably. The film looks like it was mostly shot at a certain time of day. He thoroughly deserved his second Oscar, and it felt like an influence on Gordon Willis' work…
The film ushered in the New Hollywood movement. It is an exhilarating ride, propelled by a memorable screen duo. Dunaway is smoulderingly sexy, while Beatty exudes classic everyman charm, even if we're supposed to root against him. Also, wow...what an ending!
amazing that it still feels so harrowing today, the violence throughout is disturbing before culminating in a shocking scene of brutality. interesting that clyde's sexuality (or lack of) is compensated for by his violence, which bonnie gets caught up with merely for the want of a life. their intimacy, and much else, is communicated in the visual language, one scene shoots bonnie and clyde in gradual close ups to indicate their intimacy, before capturing the embarrassment of clyde's impotency with a sudden long shot.
A film that clearly set a template for so many later duos on the run. Their relationship is one of the more interesting aspects that is featured, never becoming what you would expect, with no clear explanation for it. Some of the action is dated, but it is always thrilling and it is clear why this film has garnered the acclaim it has through the years.
Maybe the main problem with that movie were my expectations, but still - Bonnie and Clyde are such a massive icons, that I was expecting from this movie much more.
The French and then British New Wave makes its way stateside. This isn't the first sign of the more artistic scene in Hollywood. I'd look to 1958's "The Defiant Ones" for the specialized jump cuts and atmospheric score as an early example. I would go so far as to call the direction here the star of the flick. Beyond the action, which constantly prevents anything from turning boring, the shot compositions and cinematography make for truly lasting images. Among my favorites were both a shot where Clyde chases Bonnie through a corn field right before a truly picturesque scene of Bonnie's family reunion in the East Texas city of Red Oak.
Beatty and Dunaway are great as the title couple.…
A long overdue watch for me. Bonnie and Clyde was at the time of it's release (and still is) an important film in Hollywood film history. It played a major role in the New Hollywood movement (if one can call it that). It was 1967 and films like In The Heat of The Night and The Graduate would make their respective marks on audiences without looking as sparkly as the films of the Golden Age often did.
Faye Dunaway and Warren Beatty are Bonnie and Clyde. They're both absolutely perfect in their roles. There's a lot about these characters that is never spoken of but is seen in the eyes…
One of the greatest films of the 1960s, Arthur Penn's Bonnie and Clyde is without a doubt a masterpiece. Filled with dark humor and intense scenes of violence, it introduces Warren Beatty and Faye Dunaway as the legendary pair of young outlaws and bank robbers in a film whose enduring popularity and critical acclaim have made the original pair even more famous, and they were joined by Gene Hackman, Estelle Parsons, and Michael J. Pollard as the rest of the Barrow Gang.
Hardly any other film portrayal of the "adventures" of Clyde Barrow and Bonnie Parker will reach the iconic status this movie has. I absolute love it and it's among my favorites from that decade.
not very good
"Bonnie & Clyde" earns its status as a true masterpiece by succeeding on all fronts. This is a film filled with so many riches, one could write entire books analyzing what worked. To begin with, all of the primary actors (Warren Beatty, Faye Dunaway, Gene Hackman, Michael J. Pollard, Estelle Parsons) were justifiably nominated for acting with Parsons taking home the Supporting Actress Oscar. Warren Beatty, in particular, deserved the nomination because he managed to create a true anti-hero who was both ruthlessly violent as well as magnetically charismatic. Watching him, you could easily see why people would join up with him and why the general public would be on his side when it came to robbing banks.
Arthur Penn also…
- 12 Angry Men
- 2001: A Space Odyssey
- 25th Hour
- 3 Women
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
All the films from all the editions, including those subsequently removed, presently totalling 1154. An easy way of seeing how…
- The Racket
- 7th Heaven
- Sunrise: A Song of Two Humans
- Chang: A Drama of the Wilderness
Every film that has ever been nominated for an Academy Award in any category. Enjoy!