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…
I think I liked the idea of this film more than the execution. Some weird "New Hollywood" techniques which haven't aged well, but there's something undeniably powerful about the story of doomed and reckless youth.
A largely fictionalised account, based on some fact, that follows the violent and ill fated bank robbing sprees of Clyde Barrow and Bonnie Parker. Controversial at the time of it's release, partly due to the sympathetic portrayal of the gang, and partly due to the films strong depiction of violence. Apart from the famous final scene, the violence is relatively tame by today's standards and I was more irked by the sympathetic portrayal of the two main characters. Some research on the web will show them to have been pretty ruthless and cold blooded killers, although Clyde's experience in prison, not shown in the film, must take some responsibility for his later brutal actions. That aside, the film was rather…
Truly a grand film, Warren Faye are so forceful in this thriller. Crafty work done n this gangster film, great supporting role by Gene Hackman.
God I hated every second, I don't know why.
Bonnie and Clyde is an excellent, stylized story. But that story is more interesting perhaps on the page. It is awkwardly told in this film. It is of course excellently shot and well-acted (for the most part) too. This movie is a landmark for style more than anything really. Cool characters and music make for two of the greatest villains in film history. B+, Must See
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.
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