Bonnie and Clyde Reviews & Ratings - IMDb IMDb 49 out of 66 people found the following review useful: A masterpiece that dares to be excessive! from Mexico 8 February 2009 'Bonnie and Clyde' is not a film about two real people famous for so many bank robberies and murders across the big country... It shows a new kind of fury in which people could be harm by weapons... The film, however, manages to carry the impression that these two youngsters took great pleasure in robbing banks and stores... It also suggests that it was very easy for them to fool the lawas certainly occurred in real life... Though merited punishment caught up with them, audiences laughed at their remarkable deeds and wanted them to get away... In 'Bonnie and Clyde,' Penn created an emotional state, an image of the 1930s filtered through his 1960s sensibility... The sense of this period reflects Penn's vision of how the 1930s Depression-era truly was, and for all the crazy style and banjo score, this vision is greatly private...

What is also personal about 'Bonnie and Clyde' and constitutes its incomparable quality, is its unusual mixture of humor and fear, its poetry of violation of the law as something that is gaiety and playfulness... 'Bonnie and Clyde' is both true and abstract... It is a gangster movie and a comedy-romance... It is an amusing film that turns bloody, a love affair that ends with tragedy... A modification between pleasure and catastrophic events is important to the essential aim of the film... In their second bank robbery, a daring and joyful action goes morosely embittered when Clyde is forced to kill an executive in the bank, and real blood pours out from his body... Bonnie and Clyde take self-gratification posing for photographs with their prisoners But when surrounded by detectives in a motel, they turn into vindictive bandits struggling for their lives... C. W. Moss, specially, brings to mind Baby Face Nelson, when he murders policemen with a blazing machine gun... One of the stimulating moments in the film happens when Clyde chases Bonnie through a yellow corn field, while a cloud transverses the sun and slowly shadows the landscape...

Here the characteristic quality of the Texas countryside and the vague aspect of the story are beautifully communicated...... Penn's masterpiece nominated for ten Academy Awards, including Best Picture, won two Oscars, one for Best Actress in a Supporting Role and another for Best Cinematography... Was the above review useful to you? 83 out of 134 people found the following review useful: The movie that made it okay to sympathize with murderers... from Houston, TX 30 October 2001 First of all, let me say that I'm appalled by the real life Bonnie and Clyde. They were two psychopathic thrill killers from Dallas who had a special hatred for law enforcement officers. I must admit that I do feel sorry for the way they were killed, but like the old axiom goes, "If you live by the sword, you die by the sword." That said, the movie "Bonnie and Clyde" was a groundbreaking film. It was the first time that we the audience were allowed inside the killers minds, and could see what made them tick.

This is perhaps the first film that takes a somewhat objective look at crime; we the audience don't have "FBI Seal of Approval" morality shoved down our throats, but we still can tell by the actions of the characters that they are evil, whether they know it or not. The story is of two Texas young adults who, bored with their lives and the prospects of going nowhere in the world, decide to live out their dreams of stardom by going on a crime spree. They fancy themselves a sort of "Romeo and Juliet" couple, and think of their robberies as harmless fun. They start out small by knocking over grocery stores and gas stations, but soon graduate to banks when they need more money to accommodate their lifestyle. Soon they have a simple minded gas clerk named C.W. and Clyde's brother and wife in the gang, and the duo goes down into history. Then the fun and games are over. With law enforcement officials now looking for Bonnie and Clyde, they become targets of bounty hunters, unethical cops and other greedy persons who wish to make a name for themselves, and they lose a part of their childish innocence as the escalation of their crimes makes them become more and more violent.

When death finally comes for Bonnie and Clyde, it comes with a vengeance. Warren Beatty and Faye Dunaway have never been better. Beatty, who plays Clyde Barrow as an impotent, ne'er do well country boy who seems to be sowing his wild oats, is in top form. He makes Clyde likable, with a goofy smile perpetually pasted on his face, even when sticking up a bank with two guns in his hands. Dunaway is the ultimate femme fatale as Bonnie Parker, a sweet natured Southern belle who likes the feel of a .38 in her hands as she politely asks for all the money. It's absurd, it's unrealistic, but hey, it's Hollywood. And the film works. But most importantly, Bonnie and Clyde are in love. It's a kind of love that only few films afterward have been able to equal. There is a genuine feeling of giddy romance between the two no matter what the scene, be it a bank robbery or family get-together away from the reaches of society. Arthur Penn was obviously a man on a mission when he directed this film.

You could sense with every frame that he knew of the importance of this movie; a cinematic masterpiece that dares to make its audience evoke pathos for what would have been banned just a few years earlier. The finale is still to this day a triumph of audience manipulation. The two bandits, finally captured and unable to escape, are dealt with in a fashion that will haunt you days after viewing. It's sad, it's disgusting, but it brings closure to the lives of two individuals whose works and existence could not be tolerated by the powers that be. The movie "Bonnie and Clyde" inspired a generation of film makers to look at cinema in a different light. Actions movies were allowed to be funny from this point; funny movies could get away with violence. On the negative side, however, the film changed the morals of Hollywood by allowing murder to be dealt with in such a nonchalant fashion. Sure, Claude is obviously shaken up after his first kill, as are Bonnie and C.W., but from that point on violence against law officials is no longer a problem. The police in this film are rather like the way gangsters used to be portrayed; a collection of stupid, soulless individuals who only want to ruin Bonnie and Clyde's fun.

In the end, this in an excellent film about Depression era gangsters. Most ironically, however, is that it seems dedicated to the two real life robbers who don't deserve such an honor of having a film legacy created in their names. 10 stars. Innovative, fresh, and hey, it helped pave the way for "Dillinger", my favorite movie in the robber-gangster genre. Was the above review useful to you? 81 out of 136 people found the following review useful: (Top 10 choice) Superb job done by all involved. from Marietta, GA, USA 22 April 1999 Besides being an enormously entertaining movie, "Bonnie and Clyde" was an important 1960's landmark film in a couple of ways. Its violent ending helped to hasten the end of the old Hayes code, which had been a severe restrictor of artistic freedom; and it helped shape the '60's image of the anti-hero. For these things it received a good deal of condemnation as well as commendation. The picture is a melange of artistic license and historical accuracy. The recreation of the Depression-era look is superb.

(It's done in an unostentatious manner, however. One feels it rather than particularly noting it.) While some liberties are taken with the story, a reasonable amount jibes with the facts. But certainly there is some romanticization here. And of course the real Clyde Barrow and Bonnie Parker were not nearly as attractive as Beatty and Dunaway. The acting by the two principals is top-notch, as well as that of most of the rest of the cast, especially Gene Hackman (the first film I ever saw him in) and Estelle Parsons.It's not generally recognized that actors Denver Pyle, Dub Taylor and Gene Wilder contribute to the movie's success. Technically as well as artistically everyone from director Arthur Penn on down deserves praise for making what I think is one of the finest movies ever made, without qualification. It seems we all reserve the warmest spots in our hearts for favorite films of our youth. This is one of mine. And you'll love Flatt & Scruggs' "Foggy Mountain Breakdown" too. Was the above review useful to you?

47 out of 73 people found the following review useful: One of the First, and Still Best, Movies About America's Obsession with Violence 3 July 2006 *** This review may contain spoilers *** Every time I watch "Bonnie and Clyde" I'm convinced that this time it won't shock me. And every time I'm proved wrong. "Bonnie and Clyde" was one of the first American movies to acknowledge that Americans are turned on by violence. People blame this movie for ushering in the increasingly graphic content of movies that in the present day makes it seem as if nothing is off limits. But this is wishful thinking on the part of people who don't want to admit that America has been a violent culture from day one. "Bonnie and Clyde" was a huge hit, but it's because it gave people what they wanted, not because it introduced them to something they'd never thought of before. At least in this film, you see what happens when a bullet tears through human flesh -- I can't say the same for the countless morale-boosting WWII films from the 1940s or the John Wayne westerns that are so beloved by conservative America.

In the world of "Bonnie and Clyde," sex and violence are extensions of the same impulse. Clyde can't get one "gun" to work, so he uses another. Bonnie is as restless as a cat in heat -- but Clyde won't scratch her itch, so she finds other ways of releasing tension. It's a movie that makes us identify with the killers. They're gorgeous and glamorous, but they're also vulnerable. They're Robin Hoods, justifying their crime by stealing from the rich and giving to the poor; but they're also naive in thinking that when they steal money from banks they're not also stealing from the poor rural people who use those banks. Authority figures aren't seen much in the film, but when they are, they're sadistic. Sheriff Hamer is a stony, craggy mass in comparison to the movie-star killers, and C.W. Moss's dad, who's finally the one to turn Bonnie and Clyde in, does what is right morally, but that's overshadowed by the fact that all we see him do is beat C.W. and call him white trash. It's no wonder this half-wit kid ran away with the Barrow gang in the first place.

We know there's only one possible ending to the movie, yet by the time it comes, we find ourselves half hoping that Bonnie and Clyde can start over and make the American dream a reality. We've forgotten that they've killed, many times, in cold blood. The most haunting scene in the film is the one in which Bonnie visits her mother for one last time, and her mom tells her what the audience has known all along but hasn't consciously acknowledged until that point: "You try to live within three miles of me, and you won't live long honey. You best keep runnin'." It's one of the most chilling and effective moments I've ever seen in a movie. Grade: A+ 10 January 2001 *** This review may contain spoilers *** Boy meets girl, boy takes girl on robbery spree, cops chase boy and girl. This innovative film transformed Hollywood's approach to the crime genre and ushered the nouvelle vague into America's mainstream. The real-life Bonnie and Clyde ranged the rural Texas-Oklahoma-Missouri emptiness in the early 1930's, holding up village banks.

A product of the Depression, these amateurish outlaws attracted media attention because they brought drama to a bleak, joyless world. They were freewheelers who turned the tables on the banks, notorious but somehow admirable villains. The Robin Hood theme is quietly insisted upon throughout the film. Banks foreclose on poor farmers, or suddenly fail, wiping out ordinary folks' savings. Out of this chaos emerge these youngsters, scourging the rich and living for the moment, riding their luck for as long as it lasts, "uncertain as times are". Mythology is the stuff that Bonnie and Clyde are made of. The film deals admirably with both reality and myth. A farmer touches Clyde reverently, as he might touch a sacred relic. On the other hand, Old Man Moss is disappointed by the ordinariness of the dynamic duo - "they ain't nothin' but a coupla kids!" We see the clumsy, ragged robberies and the burgeoning fame. Our lovable rogues may be violent thugs, but they favour the little guy. During a robbery in progress, a farmer is permitted to keep his money.

The authorities are portrayed as hapless oafs, as is customary in 'Robin Hood' movies, but here it bears an underlying significance - America's institutions have failed the citizens. People can't repose trust in the police. (The film was made at the depths of the Vietnam War and the Civil Rights disturbances.) One of the striking features of the film, and one which attracted criticism on its release, is the linking of violence with comedy. This was a period when violence was being portrayed graphically onscreen, and what is new in this film is that the firing of the gun and the bullet hitting the victim are both contained in the same camera shot, as opposed to the traditional euphemism of the cut away from the gun. We never forget that, for all their hedonistic levity, our two leads are "staring square into the face of death". The final shoot-up is a shocking and fascinating danse macabre. "There's nothing quite like the kinetics of violence," says director Arthur Penn. He uses crazily juxtaposed running-speeds to compound the horror of the madly-flailing corpses, an effect which he calls "both spastic and balletic". And then, of course, there is sex.

The real Clyde Barrow maintained a homosexual liaison with C.W. Moss, and originally the writers Benton and Newman had wanted the menage-a-trois with Bonnie to be a part of the film. Warren Beatty objected to playing a bisexual, and on reflection the Beatty-Penn-Benton-Newman production team dispensed with the sexual sophistication, reasoning that it would complicate the story unnecessarily and alienate cinema audiences. The only remaining vestiges are Clyde's difficulty making love to Bonnie, and some laddish cuddles during the card game in the hideout. The meeting of Bonnie and Clyde at the start is filled with playful sexual imagery. A bored, trapped Bonnie pummels the slats of her bedframe, pouting with sexual frustration. Clyde bursts into this 'prison' and seduces her with his aura of danger and excitement. Check out the phallic symbols - toothpick, gun and coke bottle. The music is wonderful in itself, and wonderfully appropriate. Flatt and Scruggs' "Foggy Mountain Breakdown" evokes place and time perfectly, and provides a rousing accompaniment to the car chases.

Director Penn has the boldness to dispense with incidental music and, where dramatic effect requires it, to rely on ambient sound such as eerily-rustling grass. At the writing stage, Benton and Newman were in love with the French New Wave and wanted this project to enshrine the nouvelle vague principles. Strenuous but abortive attempts were made to recruit first Truffaut and then Godard, but Beatty finally convinced the writers that outer trappings such as European directors were unnecessary, because the script held all the New Wave ingredients. Truffaut's benign influence pervades the final version, especially the section where Bonnie reads her ballad aloud. We move visually through three scenes as Bonnie's voice proclaims the couple's testament, a cinematic gem suggested by Truffaut. Throughout the action, the jump-cut style of editing captures perfectly the spareness which is the essence of New Wave. Two sheets of newspaper are scattered on the swirling wind, an image which underscores the feckless, empty existence of the protagonists. Benton may not have got his francophone director, but in this fresh treatment of classic American subject matter he succeeded in making his "specifically European film".

"We couldn't have made it on the back lot," says Beatty, and he is right. The rural Texas locations are terrific, their open spaces hinting at both freedom and emptiness. Bonnie and Clyde are at their best when on the move, and they grow fractious whenever cooped up. The countryside is almost a participant in the story, as when the distraught Bonnie, filled with thoughts of death and separation, absconds through the field of withered corn, or the Eugene-Thelma episode closes with a dustcloud 'wiping' the action. The night-to-day sequence around the two cars after Buck's misfortune is beautifully done. Beatty produced the film as well as starring in it. He held daily pre-shoot discussion sessions for the cast, an admirable attempt to enrich the creative process. By the evidence of this fresh, entertaining and superbly-constructed film, his inclusive instincts triumphantly augmented a winning formula. Was the above review useful to you? 17 out of 18 people found the following review useful: The movie that defined the 'New Hollywood' generation and the greatest cinematic era ...

from France 27 June 2011 She's restlessly lying in bed, naked, like a capricious girl her parents just punished, impatiently waiting for 'something to happen'. The monotony is eventually broken when the beautiful blonde girl catches a handsome young man about to steal her family's car. When a bored girl meets a strange newcomer, it's not properly what we'd call a 'love at first sight' but there's obviously a mutual attraction, fascination. And the man has more than his dandy charm to offer, from his pockets he carefully unveils a gun that the girl sensually touches like a phallic trophy. The days of 'old-school' cinema are numbered. But showing a gun is one thing, the guy must use it to assess his manhood, so he robs a store and runs away with the girl, and they finally exchange their names. Warren Beatty is Clyde Barrow and Faye Dunaway is Bonnie Parker, the rest is legend The two young lovers escape from their condition in a sort of existential impulse and leave the boredom of small rural towns behind them. No place in their hearts for the Great Depression.

And you can easily draw the parallel between "Bonnie and Clyde" and cinematic history. When the gap between the baby-boom generation and their parents got wider, when cinema was marked in the 60's by an abundance of dull musical comedies and classic block-busters, when sex and violence were still taboo in America, I guess people felt like Bonnie in the opening shot ... before two guys, Michael Benton and David Benton, came up with a script, recommended by the French New Wave authority, François Truffaut himself. Then Arthur Penn made his entrance with a gangster film that exuded violence and sexuality in an unusually indecent way, during the ground-breaking year of 1967. A cinematic Revolution was marching in. "Bonnie and Clyde" was a break-through film in its fast paced, entertaining and bold portrayal of violence and sex. The times of "Cleopatra", "My Fair Lady" or "The Sound of Music" were definitely over, American cinema reached its maturity with Arthun Penn's masterpiece that consecrated the anti-heroic figures, a model that would enrich the 'New Hollywood' era with some of its greatest and most iconic characters.

We root for Bonnie and Clyde as they are the epitome of anti-system rebellion. And never seems their violence gratuitous or cold-blooded. We're far from the John Wayne's stud figure with Clyde who obviously uses his gun to compensate his sexual problems, or to impress his girlfriend. And in the famous pivotal moment, where they meet the farmers ruined by their bank, they're transformed into modern 'Robin Hoods'. Indeed, the iconic line "We rob banks" is more than a simple statement; it's the affirmation of this rebellion against the system. It's pretty ironic that Penn 'sold' the film to Warner Bros majors as a homage to the gangster films of the Golden Age, which is not totally untrue, except for the Hayes Code from which film-makers were freed in 1967. Maybe we could blame Arthur Penn's for the liberties he took with the characterization of notorious gangsters, and the deliberately romantic portrayal of Beatty and Dunaway. Maybe Bonnie is too gorgeous in a glamorous way, maybe Clyde is too good-hearted as he would express many grieves all through the film, highlighting the fact that he feels as much a killer as a lover.

But take into consideration that for a long time, the Hayes Code prevented bandits and gangsters from being portrayed in a sympathetic way, except maybe for comedy. This is why analyzing "Bonnie and Clyde" should always take the context into consideration. In these days, when Americans were getting killed in Vietnam for a war that was proving to be pointless, who could really point his finger in something and say 'this is good and this is evil'? The Vietnam war made the youth question its own approach to good and evil, and it's less an alibi to root for Bonnie and Clyde, than an element that explains, not justifies, how their figures could have been so popular. The audience was mature enough to identify with "Bonnie and Clyde" as movie characters. And to be honest, it's hard not to find this film appealing, as soon as the gang is constituted by its core before being joined by Michael J. Pollard, as C.W.

Moss, Gene Hackman as the good-hearted brother Buck Barrow and Estelle Parsons as his wife Blanche (with an interesting note that all the members of the Barrow Gang will be Oscar nominated), the whole film embarks us in a road adventure with the banks of the Depressed America as so many stops, and the same exhilarating banjo music as the film's musical signature. It's difficult not to feel like belonging to the gang, seated in the numerous cars they ran away with. Dede Allen's fast-paced editing provides unforgettable thrills, reasonably punctuated by necessary and relationship-developing pauses. But progressively, as the adventure is looking more like a cat-and-mouse chase, as we feel getting closer to the end, the levels of realism the violence reaches gets more and more disturbing, and heart-breaking, as to remind us that whoever lived by the gun, die by the gun, and antiheroes didn't have the monopoly of violence.

Indeed, the movie doesn't end with banjo music, with no music actually and this is another testimony to the movie's legendary value, something that was waiting to explode on screens after so many decades of repressed violence, where gunshots hardly made blood spilling, where the portrayal of death was just acrobatic moves with a possible 'aargh' for the bad guy and more solemnity for the good one. Arthur Penn opened the Pandora Box that would inspire "The Wild Bunch", "The French Connection" and "The Godfather" and only for that cinematic accomplishment, he deserves respect and admiration. "Bonnie and Clyde" is a landmark and definitely one of the most important films of American history. Was the above review useful to you? 43 out of 71 people found the following review useful: 1967's best movie. from Montreal, Canada 10 September 1999 "Bonnie and Clyde" is, what I would consider to be, the movie that let loose violence in cinema.

Artur Penn's based on a true story classic of violence, sexuality, and crime, was excellent thirty-two years ago when it first came out, is excellent today, and will be excellent for decades to come. Plus, it is one of those rare movies that are at the same time a landmark for cinema history as well as a true classic for more than just its landmark aspect. This movie earned five nominations only for acting and won best supporting-actress for Estelle Parsons. One morning, as she wakes up, Bonnie Parker (Faye Dunaway) notices that a man is trying to subtly break into her car. She quickly dresses up and runs down. The man looks up at her embarrassed and we are than revealed Clyde Barrow (Warren Beatty). The two of them go for a walk down the road but when Clyde tells Bonnie that he is a robber, she doesn't believe him. So, he decides to prove to her that he isn't lying and robs a small grocery shop right away. As soon as he exits the store, he shows Bonnie the money and they escape in a car that they steal. And so begins an adventure they will never forget.

Along their way, they pick up a young boy who works at a gas station who is called C.W. (Michael J. Pollard). They begin doing more and more robberies until Clyde is finally forced to kill someone. Later on in their trip, Clyde's brother (Gene Hackman) and his wife Blanche (Estelle Parsons) catch up with Clyde, C.W., and Bonnie and they continue committing crimes such as robberies and even sometimes murders but usually in cases of self-defense. "Bonnie and Clyde" is beautifully acted and expertly directed. After "Bonnie and Clyde", Arthur Penn directed some other good movies such as "Little big man" but as good as they were all, none ever equalled "Bonnie and Clyde". If you haven't seen it yet, you should put it first on your "Next movies to watch" list. Was the above review useful to you?

24 out of 34 people found the following review useful: Ripe for Reassessment from Derry, Ireland 6 September 2006 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. Was the above review useful to you? 71 out of 128 people found the following review useful: Quite Possibly the Most Important Film of the 1960s from United States 10 October 2000 "Bonnie and Clyde" is a real innovative film in the fact that it does contain some extremely violent content. 1967 was a different time in the cinema. This film was one of the first, if not the first, that really showed violence the way it would be in real life. People bleed when they get shot and they die in gruesome fashions. The film itself is the somewhat true story of the infamous bank robbers who terrorized parts of Texas and Oklahoma in the early-1930s before they were finally terminated by the authorities. Warren Beatty, Faye Dunaway, Gene Hackman, and Michael J.

Pollard all received Oscar nominations. Estelle Parsons won one in the Supporting Actress category. Dunaway and Hackman proved to be the finds of the decade and Beatty became the first real star to be an instrumental part in the actual production of the film. Watch for Gene Wilder in a somewhat funny sequence during the course of the action. Unrelenting and overall exceptional, "Bonnie and Clyde" is easily one of the top 10 films of the 1960s and one of the greatest films of all time. 5 stars out of 5. Was the above review useful to you? 18 out of 23 people found the following review useful: Good afternoon, we are the Barrow gang. from United Kingdom 16 January 2009 Bonnie & Clyde stands today as one of the most important films of the 60s, it's impact on culture alone marks it out as a piece of work to note, but as gangster films go this one is something of a landmark.

Quite how writers Newman & Benton managed to craft a story of two deadbeat outlaws into cinematic heroes is up for any individual viewers scrutiny, but they bloody well do it because we all want to be in the Barrow gang, because we get lost in this romanticised outlawish tale unfolding in front of our eyes. The film is a fusion of incredible violence and jaunty slapstick, and smartly pauses for delicate moments to let us into the psyche of the main protagonists, we know they have hangups, and with that we know they are fallible human beings, and this sets us up a treat for the incredible jaw dropping finale, and the impact of this finale hits as hard now as it did back with the audience's of 1967. The cast are incredible, Warren Beatty gives a truly brilliant performance as Clyde, he looks good and suave tooting those guns, but it's in the tender troubled scenes where he excels supreme. Faye Dunaway as Bonnie is the perfect foil for Beatty's layers, she nails every beat of this gangsters troubled moll.

Gene Hackman, Michael J Pollard, and Estelle Parsons put the cherry on the icing to give depth and range to the rest of the Barrow gang, and these fine actors are clothed in gorgeous cinematography courtesy of Burnett Guffrey. To round out the plaudits I finish with love for director Arthur Penn because it's his vision that gives us something of a nostalgic movie that plays up and down with its subjects with cheeky aplomb, in fact it's just like the banjo music that features so prominently throughout this wonderful film. Nominated for 9 Oscars it won just the two, the entire actors who played the Barrow gang were nominated, and truth be told they all would have been worthy winners, as it is they gave out just the one to the least strongest performance from Estelle Parsons, go figure. It's legacy both in culture and box office lives on and for me Bonnie & Clyde is not only one of the best films of the 60s, it's also one of the best in history. 10/10 Was the above review useful to you?

Page 1 of 37: 10 Things You May Not Know About Bonnie and Clyde - History in the Headlines 10 Things You May Not Know About Bonnie and Clyde December 6, 2013 By Christopher Klein Share this: 10 Things You May Not Know About Bonnie and Clyde Author 10 Things You May Not Know About Bonnie and Clyde URL Explore 10 things you may not know about Clyde Barrow and Bonnie Parker, the notorious outlaw couple whose crime spree captivated Depression-era America. Bonnie died wearing a wedding ring—but it wasn’t Clyde’s. Six days before turning 16, Bonnie married high school classmate Roy Thornton. The marriage disintegrated within months, and Bonnie never again saw her husband after he was imprisoned for robbery in 1929. Soon after, Bonnie met Clyde, and although the pair fell in love, she never divorced Thornton. On the day Bonnie and Clyde were killed in 1934, she was still wearing Thornton’s wedding ring and had a tattoo on the inside of her right thigh with two interconnected hearts labeled “Bonnie” and “Roy.” Bonnie wrote poetry.

Bonnie Parker and Clyde Barrow in a photograph from the early 1930s. (Library of Congress) During her school days, Bonnie excelled at creative writing and penning verses. While she was imprisoned in 1932 after a failed hardware store burglary, she penned a collection of 10 odes that she entitled “Poetry from Life’s Other Side,” which included “The Story of Suicide Sal,” a poem about an innocent country girl lured by her boyfriend into a life a crime. Two weeks before her death, Bonnie gave a prescient poem to her mother entitled “The Trail’s End” that finished with the verse: Some day they’ll go down together; And they’ll bury them side by side, To a few it’ll be grief— To the law a relief— But it’s death for Bonnie and Clyde. The Navy rejected Clyde. As a teenager, Clyde attempted to enlist in the U.S. Navy, but lingering effects from a serious boyhood illness, possibly malaria or yellow fever, resulted in his medical rejection. It was a hard blow for Clyde, who had already tattooed “USN” on his left arm. Clyde’s first arrest came from failing to return a rental car.

The notorious criminal was first arrested in 1926 for automobile theft after failing to return a car he had rented in Dallas to visit an estranged high school girlfriend. The rental car agency dropped the charges, but the incident remained on Clyde’s arrest record. Just three weeks later, he was arrested again alongside his older brother Ivan “Buck” Barrow for an even more farcical crime—possession of a truckload of stolen turkeys. Bank robberies were not their specialties. Although often depicted as Depression-era Robin Hoods who stole from rich and powerful financial institutions, Bonnie and Clyde staged far more robberies of mom-and-pop gas stations and grocery stores than bank heists. Oftentimes, their loot amounted to only $5 or $10. Clyde chopped off two of his toes in prison. While serving a 14-year sentence in Texas for robbery and automobile theft in January 1932, Clyde decided he could no longer endure the unforgiving work and brutal conditions at the notoriously tough Eastham Prison Farm.

In the hopes of forcing a transfer to a less harsh facility, Clyde severed his left big toe and a portion of a second toe with an axe, although it is not known whether he or another prisoner wielded the sharp instrument. The self-mutilation, which permanently crippled his walking stride and prevented him from wearing shoes while driving, ultimately proved unnecessary as he was released on parole six days later. A car accident impaired Bonnie’s walking. On the night of June 10, 1933, Clyde, with Bonnie in the passenger seat, was speeding along the rural roads of north Texas so quickly that he missed a detour sign warning of a bridge under construction. The duo’s Ford V-8 smashed through a barricade at 70 miles per hour and sailed through the air before landing in a dry riverbed. Scalding acid poured out of the smashed car battery and severely burned Bonnie’s right leg, eating away at her flesh down to the bone in some places. As a result of the third-degree burns, Bonnie, like Clyde, walked with a pronounced limp for the rest of her life, and she had such difficulty walking that at times she hopped or needed Clyde to carry her.

Souvenir hunters tried to cut off parts of Bonnie and Clyde at the scene of their deaths. On May 23, 1934, a six-man posse led by former Texas Ranger captain Frank Hamer ambushed Bonnie and Clyde and pumped more than 130 rounds of steel-jacketed bullets into their stolen Ford V-8 outside Sailes, Louisiana. With acrid gunsmoke still lingering in the air, gawkers descended upon the ambush site and attempted to leave with macabre souvenirs from the bodies of the outlaws still slumped in the front seat. According to Jeff Guinn’s book “Go Down Together,” one man tried to cut off Clyde’s ear with a pocket knife and another attempted to sever his trigger finger before the lawmen intervened. One person in the throng however managed to clip locks of Bonnie’s hair and swathes of her blood-soaked dress. Their bullet-riddled “death car” is on display at a casino. Following the ambush of Bonnie and Clyde, a Louisiana sheriff who was a member of Hamer’s six-man posse claimed the pockmarked Ford V-8 sedan, still coated with the outlaws’ blood and tissue.

A federal judge, however, ruled that the automobile stolen by Bonnie and Clyde should return to its former owner, Ruth Warren of Topeka, Kansas. Warren leased and eventually sold the car to Charles Stanley, an anti-crime lecturer who toured fairgrounds with the “death car” and the mothers of Bonnie and Clyde in tow as sideshow attractions. Still speckled with bullet holes, the “death car” is now an attraction in the lobby of Whiskey Pete’s Casino in Primm, Nevada, a small resort town on the California border 40 miles south of Las Vegas. Bonnie and Clyde were buried separately. Although linked in life, Bonnie and Clyde were split in death. While the pair wished to be buried side-by-side, Bonnie’s mother, who had disapproved of her relationship with Clyde, had her daughter buried in a separate Dallas cemetery. Clyde was buried next to his brother Marvin underneath a gravestone with his hand-picked epitaph: “Gone but not forgotten.” Tags Bonnie and Clyde (1967) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This!

Keep track of everything you watch; tell your friends. Error 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. Director: From $2.99 (SD) on Amazon Video ON DISC a list of 38 titles created 26 Apr 2012 a list of 42 titles created 10 Sep 2012 a list of 37 titles created 05 Oct 2013 a list of 45 titles created 24 Jun 2015 a list of 36 titles created 7 months ago Title: Bonnie and Clyde (1967) 7.9/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Won 2 Oscars. Another 20 wins & 27 nominations. See more awards » Videos A disillusioned college graduate finds himself torn between his older lover and her daughter. Director: Mike Nichols A pair of NYC cops in the Narcotics Bureau stumble onto a drug smuggling job with a French connection.

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Director: Francis Ford Coppola The slave Spartacus leads a violent revolt against the decadent Roman Republic. Director: Stanley Kubrick In Africa during World War I, a gin-swilling riverboat captain is persuaded by a strait-laced missionary to use his boat to attack an enemy warship. Director: John Huston Edit 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 Taglines: A brilliantly made, groundbreaking film that chronicles the short lives of America's most infamous criminals. See more » Genres: September 1967 (USA) See more » Also Known As: Bonnie y Clyde See more » Filming Locations: Did You Know? Trivia The real Blanche Barrow sued Warner Brothers over the way she was depicted in the film. In reality, Barrow was the same age as Bonnie Parker, arguably better looking than her, she was not a preacher's daughter and had married Buck knowing full well that he was an escaped prisoner and twice divorced. See more » Goofs During the Kodak scene, the door to Buck's car closes shut, but we do not see or hear him close it. See more » Quotes Clyde Barrow : [Bonnie can't stop laughing after Clyde held up a failed bank and left empty-handed] We got a dollar ninety-eight, and you're laughing!

I Love to Spend Each Sunday with You (uncredited) Written and Performed by Eddie Cantor Played on the radio Bloodshed in the American Dustbowl... 7 October 2008 | by moonspinner55 (las vegas, nv) – See all my reviews Although numerous chapters in cinema manuals have been dedicated to Arthur Penn's violent, jagged, cynical "Bonnie and Clyde"--and, indeed, it kick-started a new permissiveness in America movies which then generated many imitations--the first twenty or so minutes of the picture are really awful. Depression-era waitress, bored and thrill seeking, finds herself drawn to a smooth-talking, reckless hood, an ex-con who, when playfully dared to, robs a general store right in front of her. He's sexually impotent but does have a sympathetic heart for the unfortunates and the working class; she's a high-wire act, strictly amoral and greedy. Their initial meeting outside her house has all the conventions of a standard 1930s drama--and just because the movie's look is generally correct doesn't mean what's happening on the screen is original.

Producer Warren Beatty and screenwriters Robert Benton and David Newman envisioned the French New Wave in regards to the film's approach and style, and their efforts paid off in this respect (it's a very good-looking picture, shot by Burnett Guffey, who won an Oscar). However, Arthur Penn's direction isn't visionary, and the multiple car-riding shots with back projection don't seem to break new ground. The film's greatest achievement aside from its textured look and feel is the casting: Beatty and Faye Dunaway do pretty marvelous work in the leads; Gene Hackman and Estelle Parsons also fine as Clyde's brother and sister-in-law (Parsons won the film's second of two Oscars as Best Supporting Actress). The violence grows increasingly, steadily, as the film inches toward its queasy conclusion, while Penn juggles (successfully at times) ribald character moments with deadly serious--and bloody--scenes (which also became fashionable). The sweat and the flies, the downtrodden and the righteous, they all get a work-out in this scenario, which, in its best moments, has a prickly-comic and dangerous edge. **1/2 from **** 5 of 6 people found this review helpful.

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Question: In which decade did Bonnie & Clyde operate?
Answer: 1930s