Intent on seeing the Cahulawassee River before it's turned into one huge lake, outdoor fanatic Lewis Medlock takes his friends on a river-rafting trip they'll never forget into the dangerous American back-country.
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
The story of Bonnie Parker smoking a cigar in a picture is accurate. She did it as a joke. But after the shootout at the bungalow in Joplin, MO, police found the photos the gang had taken and published the photo of Bonnie, thereby leading to her unearned rep as a "Cigar Smokin' Gun Moll". See more »
During the frustrated love scene on the bed, Clyde turns on his back and puts his left hand on his chest after kissing Bonnie. In the next shot, however, his left hand moves off of her breast. See more »
[Blanche wants a cut of the loot]
Well why not? I earned my share same as everybody. Well, I coulda got killed same as everybody. And I'm wanted by the law same as everybody... I'm a nervous wreck and that's the truth. I have to take sass from Miss Bonnie Parker all the time. I deserve mine.
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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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