Bonnie and Clyde (1967)

Nutzer-Bewertung:

8.0/10   

Regisseur:

Arthur Penn

Drehbuchautoren:

David Newman (written by) &
Robert Benton (written by)
(mehr)

Premierendatum:

13. August 1967 (USA)

Genre:

Action | Biografie | Krimi | Drama | Romanze

Werbezeile:

"The strangest damned gang you ever heard of. They're young. They're in love. They rob banks."

Plot:

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

Plot Keywords:

Diner | Road Movie | Ex Convict | Gun Moll | Fight

Auszeichnungen:

Won 2 Oscars. Another 17 wins & 22 nominations

Nutzerkommentare:

Ripe for Reassessment

Besetzung

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
übrige Besetzung in alphabetischer Reihenfolge:
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)

Regie
Arthur Penn

Buch
David Newman		(written by) &
Robert Benton		(written by)
Robert Towne		uncredited

Produktion
Warren Beatty	....	producer

Originalmusik
Charles Strouse

Kamera
Burnett Guffey		(director of photography)

Schnitt
Dede Allen

Bauten/Dekorationsbau (art directors)
Dean Tavoularis

Bühnenbildner/Ausstatter (set decorators)
Raymond Paul

Kostüme
Theadora Van Runkle		(as Theadora van Runkle)

Maske/Frisuren
Robert Jiras	....	makeup designer
Gladys Witten	....	hair stylist

Produktionsleiter (production managers)
Russell Saunders	....	production manager (as Russ Saunders)

Regieassistenten
Jack N. Reddish	....	assistant director

Ausstattung (Stab)
Stuart Spates	....	intern (uncredited)

Ton Stab
Francis E. Stahl	....	sound
Dan Wallin	....	sound re-recording mixer (uncredited)

Spezialeffekte
Danny Lee	....	special effects

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	....	stunts (uncredited)
Mary Statler	....	stunts (uncredited)
Dale Van Sickel	....	stunts (uncredited)

Kamera und Elektrik (Stab)
Richard Doran	....	assistant camera (uncredited)

Kostüm und Garderobe (Stab)
Norma Brown	....	wardrobe: women
Andy Matyasi	....	wardrobe: men

Musik (Stab)
Alan Hawkshaw	....	musician: "The Ballad of Bonnie and Clyde" (uncredited)
Dan Wallin	....	scoring mixer (uncredited)

Restlicher Stab
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)

Produktionsfirmen

• Tatira-Hiller Productions
• Warner Brothers/Seven Arts

Verleihfirmen

• Warner Brothers/Seven Arts (1967) (USA) (theatrical)
• CBS Television (1973) (USA) (TV) (original airing)
• Varus Video
• Warner Bros. (1967) (West Germany) (theatrical)
• Warner Bros. (1968) (France) (theatrical)
• Warner Bros./Seven Arts (1968) (Japan) (theatrical)
• Warner Home Video (1998) (Germany) (DVD)
• Warner Home Video (2008) (Netherlands) (DVD)
• Warner Home Video (2008) (Netherlands) (DVD) (Blu-Ray Disc)
• Warner Home Video (1997) (Sweden) (VHS)
• Warner Home Video (1997) (USA) (DVD)
• Warner Home Video (2006) (USA) (DVD)
• Warner Home Video (USA) (VHS)
• Warner Home Video (USA) (laserdisc)
• Warner Home Vídeo (1989) (Brazil) (VHS)
• Warner-Tonefilm (1967) (Sweden) (theatrical)

Weitere Firmen

• Warner Bros. Cosmetics  miss dunaway's makeup

Alternativ:

Bonnie and Clyde... Were Killers! (UK)
Bonnie und Clyde (Österreich) (Bundesrepublik Deutschland) [de]

MPAA:

Rated R for violence.

Länge:

112 Min

Land:

USA

Sprache:

Englisch

Farbe:

Farbe (Technicolor)

Seitenverhältnis:

1.85 : 1

Tonverfahren:

Mono

Altersfreigabe:

Canada:A (Nova Scotia) | Brazil:16 | Norway:16 (1968) (cut) | Norway:(Banned) (1967 - 1968) | West Germany:16 (re-rating) | West Germany:18 (original rating) | USA:Approved (certificate #21395) (original rating) | USA:M (re-rating) (1969) | USA:R (re-rating) (2007) | Canada:14A (Manitoba) (re-rating) (2008) | Canada:AA (Ontario) | Canada:PG (Manitoba) (original rating) | UK:15 (re-rating: 2008) | Argentina:13 | Australia:M | Canada:13+ (Quebec) | Finland:K-16 | Ireland:18 | Italy:VM18 | Norway:15 (re-rating) | Portugal:M/16 | Singapore:PG | Sweden:15 | UK:18 (video rating) | UK:X (original rating) | Iceland:16

Drehorte:

Dallas, Texas, USA

Firma:

Tatira-Hiller Productions

Dies und das:

According to Warren Beatty in the Special Addition DVD documentary, in the death scene, the make up department fixed a fake scalp over his real hair with a line so that while he was being shot, it would look like his head was being blown off. Beatty says that partially the reason why he had the fruit in his hand was that the moment he squeezed the fruit was supposed to signal the make up artist to pull the line and rip the scalp off. However, when the scene was being filmed, the artist was so nervous that he forgot to pull the line. By the same token, Faye Dunaway mentions that the make up artists also put appliances over her face that were also wired so that when she was being shot they would yank off the flesh colored covers.

Pannen:

Abfolgefehler: After he calls Bonnie to follow him, Clyde turns and goes to the car. Then she calls him and points to him with her left hand, keeping her right arm by her side. The next shot shows her with her right hand touching her own shoulder.

Dialogzitate:

Clyde Barrow: Alright. Alright. If all you want's a stud service, you get on back to West Dallas and you stay there the rest of your life. You're worth more than that. A lot more than that. You know it and that's why you come along with me. You could find a lover boy on every damn corner in town. It don't make a damn to them whether you're waitin' on tables or pickin' cotton, but it does make a damn to me.
Bonnie Parker: Why?
Clyde Barrow: Why? What's you mean, "Why?" Because you're different, that's why. You know, you're like me. You want different things. You got somethin' better than bein' a waitress. You and me travelin' together, we could cut a path clean across this state and Kansas and Missouri and Oklahoma and everybody'd know about it. You listen to me, Miss Bonnie Parker. You listen to me.

Querbezüge:

Bezug enthalten in Day for Night: Truffaut in the USA (2003) (V)

Soundtrack:

My Little Girl in Tennessee

Ripe for Reassessment

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.