Based on the true story of Clyde Barrow, a charismatic convicted armed robber who sweeps Bonnie Parker, an impressionable, petite, small-town waitress, off her feet, and the two embark on ... See full summary »
A bored small-town girl and a small-time bank robber leave in their wake a string of violent robberies and newspaper headlines that catch the imagination of the Depression-struck Mid-West in this take on the legendary crime spree of these archetypal lovers on the run. Written by
Keith Loh <firstname.lastname@example.org>
They met in 1930. She was stark naked, yelling at him out the window while he tried to steal her mother's car. In a matter of minutes they robbed a store, fired a few shots and then stole somebody else's car. At that point they had not yet been introduced. See more »
Warner Brothers had so little faith in the film that, in an unprecedented move, it offered its first-time producer Warren Beatty 40% of the gross instead of a minimal fee. The movie then went on to gross over $50 million. See more »
In the final scene where Bonnie and Clyde are killed, the Ranger and his deputies are wielding Thompson sub-machine guns. In actual fact, the weapons of choice were Browning Automatic Rifles (B.A.R.). See more »
[Bonnie to Buck and Blanche]
Why don't y'all go back to your *own* cabin, if you want to play with C.W.
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Rocking the cinema several years after the French New Wave and its deconstructivist approach to established film syntax, "Bonnie and Clyde" isn't so much an experiment in iconoclasm as it is a post-modern (re-)construction of the gangster film as a true American folktale fantasy. The existential vacuousness pervading the Nouvelle Vague finds renewed expression in the eerily empty landscapes and towns, in Clyde's charismatic ambivalence toward crime, and in Bonnie's charmingly fatalist poetry.
Yet Arthur Penn wisely replaces French frivolousness with the profound tension and despair of Depression-era dilapidation. Although it's a damn funny film, all the laughs are constrained by a sense of impending doom. Seeing Clyde hand his gun over to a pair of oldtimers so they can shoot at their now repossessed home they themselves built, acts as a snapshot of the titular characters' exploits: briefly gratifying, enduringly defiant, but essentially futile.
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