A paradigm-shifting classic of American cinema, Bonnie and Clyde packs a punch whose power continues to reverberate through thrillers decades later. It also caused major controversy by redefining violence in cinema and casting its criminal protagonists as sympathetic anti-heroes.
The screenplay was written for the screen by gay playwright William Inge, who had similarly crafted a stage role for Beatty in A Loss of Roses, which enjoyed a short-lived theatre run in late Beatty was being persuaded by Leslie Caron that he should take on an ambitious vehicle for himself.
Truffaut dined with Beatty and Caron on the pretext that he would cast them together in Farenheit ; however, when they met, it transpired that he had already cast Julie Christie and Oskar Werner. Truffaut then suggested that Beatty read a screenplay which had been sent to him by two American writers.
He had already sent it to Jean-Luc Godard, who proved incapable of putting a deal together to get it made. However, Beatty readily agreed that it might be just the thing for him.
What Truffaut allegedly had not explained was that he would never make the film with Beatty because he despised him. He was not aware that Beatty immediately set about acquiring the rights.
He bought it anyway. Arthur Penn had made Mickey One with Warren the previous year. It had an extraordinary score by Stan Getz and a puzzling performance by the star, who adopted Penn as his latest father figure.
Penn admired the young man for his eschewing of pretty-boy leading roles in favour of working with great directors. The two formed a company, Tatira Productions, where they wished to develop screenplays free of the demands and interference of the studios: Both Warren and Penn keenly felt the need to have a best friend, and for a while they were able to convince themselves they had found one in each other.
Penn invited Warren to move in with him and his family in New York so they could savour every minute of their newfound intimacy. Penn was his guru when they filmed Mickey One, but later, when the dynamic Penn tried to direct him in Bonnie and Clyde, Warren seized control.
Penn the leader suddenly became Penn the follower. Pauline Kael explains the attractiveness of the New Wave filmmakers for Americans: Ellis Amburn quotes Benton on the attraction of the subject matter: They were inept gangsters […] They were not very good bank robbers. The neophyte screenwriters were always consciously trying to evoke the mythology inherent in the tale.
We began to sense that something was going on in this country and that all our values not only culturally but psychologically and mythologically and romantically, that everything was shifting in a really interesting way.
When David and I first started we were working on the screenplay we were still working at Esquire magazine and we were reading a book by John Toland about John Dillinger and there was a footnote about Bonnie Parker and Clyde Barrow, and it said, Not only were they outlaws, they were outcasts […] I think what attracted us, what we tried to bring to the screenplay, was that Bonnie and Clyde were not conventional villains and not conventional heroes, they were some mixture, but we were determined to see them with some sympathy.
They spent two days in a hotel, where, through a translator, the filmmaker talked them through the script. We simply took his notes and incorporated them directly into the screenplay.
We now had a little more information about what this particular director wanted and we wrote a film for this particular director. Godard would go on to make Pierrot Le Fouwhose story elements greatly resemble those of Bonnie and Clyde. Eighteen months later, Warren Beatty appeared and said: We need an American director.
Penn is not certain about doing it straightaway. Other directors are in the running. One of them is Brian G. Hutton, but he is typical of Hollywood sentiment in his reactions. He is looking at the Benton-Newton [sic] script one day with a young writer Beatty knows, Robert Towne.
But Hutton looks at him as if he is crazy. Your advertising is just dandy. Penn was not happy when he read the final script. He attempted to withdraw his involvement from the entire production. There is some argument about the rationale behind the changes, with Newman and Benton claiming that Beatty wanted the homosexuality removed, while Beatty denies it.
Newman and Benton claim that Penn was interested in the fact that Barrow had turned bisexual while in prison, but believed that this fact would alienate the audience, reasoning that his motivation could be interpreted as perversion, while the writers agreed that something sexual should be amiss in his persona — hence the impotence, a counter to the happily Freudian phallic symbolism of the gun.
Arthur Penn was so bent on creating representative folk heroes that he missed the real story, which was far more intriguing than fiction, and would have pushed the boundaries of the film subject matter even further. Legend has it that the two met at the offices of their mutual psychoanalyst.
Ellis Amburn claims that Towne had helped Beatty find his feet around Hollywood as a fledgling producer in search of financial backing, a new and unfamiliar undertaking for the actor. I was rewriting scenes time after time.As Americans fell in love with Bonnie and Clyde the movie, they also became captivated by Bonnie and Clyde the outlaws, and the nation's troubadours took to the airwaves to sing about the tragic.
When Bonnie and Clyde first came out, I saw it 7 times in one weekend. I loved the movie and the subject matter. It is such a shame that the thrill seeking life of the 30's gangster was so alluring. Other than the predictable final shoot-out, The Bonnie Parker Story bears no other resemblances to the later film, especially in terms of visual style, where it remains strictly in the B-movie tradition of American International Pictures, its production company.
However, it is told and shot with verve, and is pleasingly lurid, with an appropriately . Sep 25, · "Bonnie and Clyde" is a milestone in the history of American movies, a work of truth and brilliance.
It is also pitilessly cruel, filled with sympathy, nauseating, funny, heartbreaking, and astonishingly beautiful.4/4. There is a moment in "Bonnie and Clyde" when Bonnie, frightened and angry, runs away from Clyde through a field of wheat, and as he pursues her, a cloud sweeps across the field and shadows them.
Seen in a high, wide-angle shot, it is one of those moments of serendipity given to few movies. Today the.
There is a moment in "Bonnie and Clyde" when Bonnie, frightened and angry, runs away from Clyde through a field of wheat, and as he pursues her, a cloud sweeps across the field and shadows them. Seen in a high, wide-angle shot, it is one of those moments of serendipity given to .
When Bonnie and Clyde first came out, I saw it 7 times in one weekend. I loved the movie and the subject matter. It is such a shame that the thrill seeking life of the 30's gangster was so alluring. Aug 03, · "Bonnie and Clyde," made in , was called "the first modern American film” by critic Patrick Goldstein, in an essay on its 30th anniversary. Certainly it felt like that at the time. The movie opened like a slap in the face.4/4. When Bonnie and Clyde first came out, I saw it 7 times in one weekend. I loved the movie and the subject matter. It is such a shame that the thrill seeking life of the 30's gangster was so alluring.