IMDb > Bonnie and Clyde (1967)
Bonnie and Clyde
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Bonnie and Clyde (1967) More at IMDbPro »

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Bonnie and Clyde -- A somewhat romantized account of the career of the notoriously violent bank robbing couple and their gang.

Overview

User Rating:
7.9/10   83,585 votes »
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Popularity: ?
Down 39% in popularity this week. See why on IMDbPro.
Director:
Writers:
David Newman (written by) &
Robert Benton (written by)
(more)
Contact:
View company contact information for Bonnie and Clyde on IMDbPro.
Release Date:
September 1967 (USA) See more »
Genre:
Tagline:
"The strangest damned gang you ever heard of. They're young. They're in love. They rob banks." See more »
Plot:
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. Full summary » | Full synopsis »
Plot Keywords:
Awards:
Won 2 Oscars. Another 24 wins & 23 nominations See more »
User Reviews:
Ripe for Reassessment See more (363 total) »

Cast

  (in credits order) (verified as complete)

Warren Beatty ... Clyde Barrow

Faye Dunaway ... Bonnie Parker

Michael J. Pollard ... C.W. Moss

Gene Hackman ... Buck Barrow

Estelle Parsons ... Blanche

Denver Pyle ... Frank Hamer

Dub Taylor ... Ivan Moss
Evans Evans ... Velma Davis

Gene Wilder ... Eugene Grizzard
rest of cast listed alphabetically:
Martha Adcock ... Bank Customer (uncredited)
Harry Appling ... Bonnie's Uncle (uncredited)
Owen Bush ... Policeman (uncredited)
Mabel Cavitt ... Bonnie's Mother (uncredited)

Patrick Cranshaw ... Bank Teller (uncredited)
Frances Fisher ... Bonnie's Aunt (uncredited)
Sadie French ... Bank Customer (uncredited)
Garry Goodgion ... Billy (uncredited)

Clyde Howdy ... Deputy (uncredited)
Russ Marker ... Bank Guard (uncredited)
Ken Mayer ... Sheriff Smoot (uncredited)
Ken Miller ... Police Officer (uncredited)
Ann Palmer ... Bonnie's Sister (uncredited)
Stuart Spates ... Boy at Bank (uncredited)
James Stiver ... Grocery Store Owner (uncredited)
Ada Waugh ... Bonnie's Aunt (uncredited)

Directed by
Arthur Penn 
 
Writing credits
David Newman (written by) &
Robert Benton (written by)

Robert Towne  uncredited

Produced by
Warren Beatty .... producer
 
Original Music by
Charles Strouse 
 
Cinematography by
Burnett Guffey (director of photography)
 
Film Editing by
Dede Allen 
 
Art Direction by
Dean Tavoularis 
 
Set Decoration by
Raymond Paul 
 
Costume Design by
Theadora Van Runkle (costumes designed by) (as Theadora van Runkle)
 
Makeup Department
Robert Jiras .... makeup creator
Gladys Witten .... hair stylist
 
Production Management
Russell Saunders .... production manager (as Russ Saunders)
 
Second Unit Director or Assistant Director
Jack N. Reddish .... assistant director
 
Art Department
Frank L. Brown .... set dresser (uncredited)
Stuart Spates .... intern (uncredited)
 
Sound Department
Francis E. Stahl .... sound
Robert J. Miller .... sound recordist (uncredited)
Dan Wallin .... re-recording mixer (uncredited)
 
Special Effects by
Danny Lee .... special effects
Pat Patterson .... special effects crew (uncredited)
 
Stunts
Steven Burnett .... stunts (uncredited)
Roydon Clark .... stunts (uncredited)
Bennie E. Dobbins .... stunts (uncredited)
Bob Harris .... stunts (uncredited)
Eddie Hice .... stunts (uncredited)
Clyde Howdy .... stunts (uncredited)
Lucky Mosley .... stunts (uncredited)
Harvey Parry .... stunts (uncredited)
George Sawaya .... stunt double: Warren Beatty (uncredited)
George Sawaya .... stunts (uncredited)
Mary Statler .... stunts (uncredited)
Dale Van Sickel .... stunts (uncredited)
 
Camera and Electrical Department
Richard Doran .... assistant camera (uncredited)
 
Costume and Wardrobe Department
Norma Brown .... wardrobe: women
Andy Matyasi .... wardrobe: men
Joan Joseff .... costume jeweller (uncredited)
 
Music Department
Alan Hawkshaw .... musician: "The Ballad of Bonnie and Clyde" (uncredited)
Dan Wallin .... scoring mixer (uncredited)
 
Transportation Department
Donald P. Desmond .... driver (uncredited)
 
Other crew
John Dutton .... script supervisor
Elaine Michea .... assistant to producer
Robert Towne .... special consultant
Morgan Fairchild .... double: Faye Dunaway (uncredited)
Wayne Fitzgerald .... title designer (uncredited)
Crayton Smith .... script supervisor: second unit (uncredited)
 
Crew verified as complete


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Additional Details

Also Known As:
MPAA:
Rated R for violence (re-rating) (2007)
Runtime:
111 min
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Certification:
Argentina:13 | Australia:M | Australia:A (original rating) | Brazil:14 | Canada:PG (Manitoba) (original rating) | Canada:A (Nova Scotia) (original rating) | Canada:AA (Ontario) | Canada:13+ (Quebec) | Canada:14A (Manitoba) (re-rating) (2008) | Canada:14A (Nova Scotia) (re-rating) (2008) | Finland:K-16 | Iceland:16 | Ireland:18 | Italy:VM18 | Japan:G (2014) | Netherlands:18 (orginal rating) | Netherlands:16 (re-rating) | New Zealand:M | Norway:15 (re-rating) | Norway:16 (1968) (cut) | Norway:(Banned) (1967 - 1968) | Portugal:M/16 | Singapore:PG | South Korea:18 | Sweden:15 | UK:X (original rating) | UK:15 (re-rating) (2008) | UK:18 (video rating) (1987) | USA:R | USA:Approved (certificate #21395) (original rating) | USA:R (re-rating) (2007) | USA:M (re-rating) (1969) | West Germany:18 (original rating) | West Germany:16 (re-rating)
Filming Locations:

Did You Know?

Trivia:
Screen writer Robert Towne did uncredited work as a story consultant on the movie. He is featured in interviews for the Special Edition DVD Documentary.See more »
Goofs:
Anachronisms: As the gang leaves a bank robbery in 1934, and 1940 Ford firetruck almost hits their getaway car.See more »
Quotes:
Clyde Barrow:This here's Miss Bonnie Parker. I'm Clyde Barrow. We rob banks.See more »
Movie Connections:
Referenced in Pendechos! (2016)See more »
Soundtrack:
I Love to Spend Each Sunday with YouSee more »

FAQ

Did Buck Barrow die after being shot in the head?
What is 'Bonnie and Clyde' about?
How much sex, violence, and profanity are in this movie?
See more »
25 out of 35 people found the following review useful.
Ripe for Reassessment, 6 September 2006
Author: Martin Bradley (MOscarbradley@aol.com) from Derry, Ireland

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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