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Bonnie and Clyde (1967)

Approved | | Action, Biography, Crime | September 1967 (USA)
Bonnie Parker, a bored waitress falls in love with an ex-con named Clyde Barrow and together they start a violent crime spree through the country, robbing cars and banks.

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Won 2 Oscars. Another 20 wins & 27 nominations. See more awards »

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Storyline

1934. Young adults Bonnie Parker, a waitress, and Clyde Barrow, a criminal just released from prison, are immediately attracted to what the other represents for their life when they meet by chance in West Dallas, Texas. Bonnie is fascinated with Clyde's criminal past, and his matter-of-factness and bravado in talking about it. Clyde sees in Bonnie someone sympatico to his goals in life. Although attracted to each other physically, a sexual relationship between the two has a few obstacles to happen. Regardless, they decide to join forces to embark on a life of crime, holding up whatever establishments, primarily banks, to make money and to have fun. They don't plan on hurting anyone physically or killing anyone despite wielding loaded guns. They amass a small gang of willing accomplices, including C.W. Moss, a mechanic to fix whatever cars they steal which is important especially for their getaways, and Buck Barrow, one of Clyde's older brothers. The only reluctant tag-along is Buck's ... Written by Huggo

Plot Summary | Plot Synopsis

Taglines:

"The strangest damned gang you ever heard of. They're young. They're in love. They rob banks." See more »


Certificate:

Approved | See all certifications »

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Details

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Release Date:

September 1967 (USA)  »

Also Known As:

Bonnie und Clyde  »

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Box Office

Budget:

$2,500,000 (estimated)
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(Technicolor)

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1.85 : 1
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Did You Know?

Trivia

For the climactic ambush, Warren Beatty and Faye Dunaway were covered with dozens of squibs embedded in their costumes and makeup and wired to a central control that made them explode in sequence to create the illusion that they were being shot. See more »

Goofs

As the gang leaves a bank robbery in 1934, and 1940 Ford firetruck almost hits their getaway car. See more »

Quotes

Bonnie Parker: We rob banks!
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Connections

Referenced in The Godfather (1972) See more »

Soundtracks

Lucky Day
(uncredited)
Music by Ray Henderson
Played while the gang steals Eugene's car
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Frequently Asked Questions

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User Reviews

 
Ripe for Reassessment
6 September 2006 | by (Derry, Ireland) – See all my reviews

When Arthur Penn's Thirties-set gangster movie first appeared in 1967 it was like a breath of fresh air in the American cinema, (though to be fair, on hindsight, the American cinema in the previous few years, particularly in the Independent sector, wasn't doing too badly). Still, Penn's movie seemed to break new ground and not just in it's depiction of violence. It had a lyrical intensity that belonged more to the French New Wave, (and at one time Truffaut's name was associated with the project), and, in that it took back to the American cinema the trappings that the French had originally borrowed in films like "A Bout De Soufflé" and "Shoot the Pianist", seemed to square the circle.

In the intervening years it has fallen somewhat out of fashion. It now almost seems quaintly old-fashioned, it's form more classically structured and narratively driven than might first appeared. But there are virtues that have largely been overlooked. Like "The Graduate" which came out in the same year, it is a young person's film yet it burns with a fierce intelligence that is conspicuously absent from similar films today. I suppose you could say the film has a pop-art sensibility, (a close-up of Faye Dunaway's face, lips burning bright red, could come from a Lichtenstein poster), and its cast seem unnaturally young, (only Beatty had established a persona for himself at the time; the others had yet to establish a reputation), but they became stars because of it. (Gang members Parsons and Pollard didn't make the leap; they were character actors from the start). Arguably you could say Beatty, Dunaway, Hackman, Parsons and Pollard were never to better their work here. They may have equalled it but their performances were definitive.

Arthur Penn, too, was never to make another movie as good. The film's extraordinary critical and popular success gave Penn the freedom to tackle 'weightier' material, but "Little Big Man" and "Georgia's Friends" now seem misguided attempts at solemnity, while even his brilliant western "The Missouri Breaks" seems to succeed more for it's oddness rather than it's originality. Perhaps "Bonnie and Clyde" was a one-off though it did spawn an awful lot of break-neck thrillers and up-dated film-noirs, and was more responsible for the baby-boom in movies in the seventies than "Easy Rider" which followed it two years later. It remains a film ripe for reassessment.


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