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 <email@example.com>
The scene in which C.W. Moss parallel parks the getaway car while Clyde and Bonnie are in the bank, and then has trouble getting the car out of the space, is based on a true event--but it didn't happen to Bonnie and Clyde. It occurred on June 10, 1933; the bank robbers in question were John Dillinger and William Shaw, and the driver was Paul "Lefty" Parker. This is documented in Bryan Burrough's "Public Enemies: American's Greatest Crime Wave and the Birth of the FBI, 1933-34," upon which the film Public Enemies (2009) was based. See more »
When Clyde is taking a picture of Buck and Blanche, he takes the cigar from his mouth and holds the camera with both hands. In the next shot, the cigar is in his mouth again. See more »
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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