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…
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…
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…
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…
This may not make sense, because this is an iconic classic and all that, but I think there’s a sense in which this movie is underrated. Sure, everyone knows how important the violence is, and how this took the French New Wave to Hollywood, but this is a great picture in its own right, not just something that was bold and new at the time. It mixes Hollywood genres (the western, the crime film) in an interesting way, and the action scenes are gripping as well as violent.
It’s crazy to think that this movie established, or helped to establish Beatty as this big sex symbol/ star, because his character’s major struggle is impotence.
Every week I have a movie night with a friend, and each time we choose a theme and both pick a film. This week the theme was "controversy", and my pick was Bonnie and Clyde.
When I pick the movies for these nights, I don't go for the ones which fit the best to the theme, I try to go for good films which also fit the theme in a way. In this case, I went with an apparent "classic", a film that was controversial in its depiction of sex and violence for 1967, but still had a lot of nuance and good direction in its scenes. It's pretty obvious that this was a pivotal point in a transition era,…
Despite being almost fifty years old, Arthur Penn's gangster classic Bonnie and Clyde possesses a beautifully modern style and look to it, in terms of cinematography and tone. While adhering to the principles of its genre, the film is fearless in going off on its own tangents and writing its own rules, with two career-worthy performances by two screen legends, and wraparound ideas of self-condemnation rather than directorial condemnation.
The film needs no real introduction, but a simple plot outline can't hurt. It's Great Depression-era America, numerous banks have either failed or have been cleaned out completely, the public is pessimistic, with many having just witnessed their financial future evaporate right before their very eyes. The setting is Southwest America,…
Sort of impossible to separate from its legacy as the movie that changed everything, and ushered in the New Hollywood. Nevertheless I think it stands up quite well, carried on the great photography, masterful pacing (though it could probably be 15 minutes shorter) and excellent performances from Beatty and Dunaway. Of particular interest is the dynamic of their sexual tension. Clyde claims that he is not gay and immediately hits his head on the ceiling of the car. Bonnie sticking with him despite not having her sexual needs met and having a cold, narcissistic mother at home. I love that the film sets this up to be a romantic tale and sweeps the rug out from under the audience's feet-…
Bonnie nervt zwar oft aber spätestens das absolut rohe Ende haut einem (und damals dem Production Code) so richtig eines in die Fresse.
I'm prone to romanticizing evil but bonnie and clyde were really just a dumb pair of kids. they went out with a bang and their death is really the only interesting thing about them because people don't die from an angry mob ambush every day. is man worth as much as number of bullets fired at him? lol no, but it's a fun concept to look at. I'd be damn proud if someone shot hundreds of bullets at me. that means he really hates me. or loves me.
Hey, you wanna hear a story 'bout this boy? He owned a dairy farm, see. And his ol' Ma, she was kinda sick, you know. And the doctor, he had called him come over, and said, uh, "Uhh listen, your Ma, she's lyin' there, she's just so sick and she's weakly, and uh, uh I want ya to try to persuade her to take a little brandy," you see. Just to pick her spirits up, ya know. And "Ma's a teetotaler," he says. "She wouldn't touch a drop." "Well, I'll tell ya whatcha do, uh," - the doc - "I'll tell ya whatcha do, you bring in a fresh quart of milk every day and you put some brandy in…
If you don't know what happens at the end of this movie, then I guess this review has spoilers in it. But who doesn't know about the end of this movie?
Maybe you? I don't know.
I guess I should watch more of these classic movies that everybody loves, because I loved this. From the opening credits I was struck by the immediate dark tone of the film. It's just these old photos, but instead of filling the screen, they're placed in the middle of screen, surrounded by blackness, appearing for only a second. It's one of these rare fantastic credits sequences that instantly grabbed me, somehow assuring me that I'm going to love the rest of the movie. I'm…
It really shouldn't be "We rob banks." It's more of a "We rob banks!"
Not only one of the best American movies ever made, but also one of the best AMERICAN movies ever made. The amount of subtext here is overwhelming, gripping gangster rise-and-fall story notwithstanding. It's as much about sensationalism and propaganda as it is a piece of sensationalism and propaganda. Bonnie and Clyde aren't characters as much as they are figures: attractive, charismatic alphas of their respective genders immortalized by the powerhouse performances of Warren Beatty and Faye Dunaway. What's interesting is that they embrace these archetypes as much as they buck them. Clyde is sly and funny and manly, but he's also sexually incompetent. Or Bonnie: for…
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