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Bonnie and Clyde (1967)

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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, stealing cars and robbing banks.

Director:

Arthur Penn
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2,143 ( 111)
Won 2 Oscars. Another 20 wins & 27 nominations. See more awards »

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Cast

Complete credited cast:
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 Evans Evans ... Velma Davis
Gene Wilder ... Eugene Grizzard
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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 »


Motion Picture Rating (MPAA)

Rated R for violence | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Warner Bros [United States]

Country:

USA

Language:

English

Release Date:

September 1967 (USA) See more »

Also Known As:

Bonnie and Clyde See more »

Filming Locations:

Crandall, Texas, USA See more »

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Box Office

Budget:

$2,500,000 (estimated)

Gross USA:

$50,700,000, 31 January 1973

Cumulative Worldwide Gross:

$70,000,000, 31 January 1973
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color (Technicolor)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Roger Ebert had only been a film critic for six months when he saw this film, and hailed it as the first masterpiece he had seen on the job. See more »

Goofs

In the very first scene when Bonnie is flailing around her bedroom, there is an obvious jump in film just as she begins to beat the bed frame with her fist. See more »

Quotes

Bonnie's Mother: You know Clyde, I read about you all in the papers, and I just get scared.
Clyde Barrow: Now Ms. Parker, don't you believe what you read in all them newspapers. That's the law talkin' there. They want us to look big so they gonna look big when they catch us. And they ain't gonna catch us. 'Cause I'm even better at runnin' than I am at robbin' banks! Shoot, if we'd done half that stuff they said we'd done in that paper, we'd be millionaires by now, wouldn't we? But Ms. Parker, this here's the way we know best...
[...]
See more »

Alternate Versions

The shots of Bonnie () attempting to perform oral sex on Clyde ('Warren Beatty') were removed from network television versions. See more »

Connections

Spoofed in The Benny Hill Show: Word of Sport (1976) See more »

Soundtracks

Can't We Be Friends?
(uncredited)
Music by Kay Swift
See more »

Frequently Asked Questions

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User Reviews

 
Ripe for Reassessment
6 September 2006 | by MOscarbradleySee 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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