Funny and violent, knowing and chilling, this is the template that no lovers-on-the-lam movies has ever bettered.
Bonnie and Clyde (1967)
Tomatometer
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Reviews Counted:45
Fresh:41
Rotten:4
Average Rating:8.2/10
Runtime: 1 hr 54 mins
Genre: Dramas
Synopsis: Based on the true-life exploits of notorious Depression-era bank robbers Bonnie Parker and Clyde Barrow, BONNIE AND CLYDE is recognized as one of the most violent films to come out of mainstream... Based on the true-life exploits of notorious Depression-era bank robbers Bonnie Parker and Clyde Barrow, BONNIE AND CLYDE is recognized as one of the most violent films to come out of mainstream Hollywood. Bonnie (Faye Dunaway) is bored with life and wants a change. She gets her chance when she meets a charming young drifter by the name of Clyde Barrow (Warren Beatty). Clyde has dreams of a life of crime that will free him from the hardships of the Depression. The two fall in love and begin a crime spree that extends from Oklahoma to Texas. They rob small banks with skill and panache, soon becoming minor celebrities known across the country. People are proud to have been held up by Bonnie and Clyde; to their victims, the duo is doing what nobody else has the guts to do. To the law, the two are evil bank robbers who deserve to be gunned down where they stand. Beatty and Dunaway are marvelous as the young criminal lovers, delivering subtle and complete performances. Also excellent are Gene Hackman as Clyde's brother, Buck; Estelle Parsons as Buck's wife, Blanche; and the always enjoyable Michael J. Pollard as C.W. Moss. The film has made a large impact on American culture, expressing the mood of rebellion rampant in the late 1960s and beyond. [More]
Starring: Warren Beatty, Faye Dunaway, Estelle Parsons, Gene Hackman
Starring: Warren Beatty, Faye Dunaway, Estelle Parsons, Gene Hackman, Michael J. Pollard, Gene Wilder, Denver Pyle, Dub Taylor, Evan Evans, James Stiver, Clyde Howdy, Garry Goodgion, Ken Mayer
Director: Arthur Penn
Director: Arthur Penn
Screenwriter: Robert Benton, David Newman
Producer: Warren Beatty
Composer: Charles Strouse
Reviews for Bonnie and Clyde
The question is whether it adds up to anything truthful, or evokes disquiet by crudely trying to con us into emotional reactions that do not make much sense.
Proof that the 1960s ended with a bang. For many, the film of the decade.
With its weird landscape of dusty, derelict towns and verdant highways, stunningly shot by Burnett Guffey in muted tones of green and gold, it has the true quality of folk legend.
Freed from the production code that drove most of the old Warner Brothers gangster films of the 1930s and 40s, Arthur Penn gave Bonnie and Clyde a new kind of thrilling glee.
Those returning to Bonnie and Clyde with this well-deserved special edition could well be shocked by how, well, shocking it is.
So definitive in so many ways, Bonnie and Clyde has become a 20th-century touchstone.
It should readily be apparent that there is something special about the production, with its brash, vivid style, indelible performances by movie icons, and bold mixture of violence and comedy, romance and tragedy.
A bona fide landmark in American film, Bonnie and Clyde stands the test of time the same way its protagonists did: by breaking all the rules. [Blu-Ray]
It is a cheap piece of bald-faced slapstick comedy that treats the hideous depredations of that sleazy, moronic pair as though they were as full of fun and frolic as the jazz-age cutups in Thoroughly Modern Millie.
Bonnie and Clyde (1967) is one of the sixties' most talked-about, controversial crime/gangster films combining comedy, terror, love, and ferocious violence
An enjoyable late-sixties era romp that was the first to really challenge the conventions of filmmaking.
When I saw it, I had been a film critic for less than six months, and it was the first masterpiece I had seen on the job. I felt an exhilaration beyond describing.
Stylistically, Arthur Penn's crime epic doesn't do anything that hadn't already been seen in any number of runty, skuzzy teen epics, all of which firmly established the paragons of good (i.e. "The Law") as being the new antagonists.
This inconsistency of direction is the most obvious fault of Bonnie and Clyde, which has some good ingredients, although they are not meshed together well.
It's by far the least controlled of Penn's films... but the pieces work wonderfully well, propelled by what was then a very original acting style.
It is a film that took considerable risks, but somehow or another, all the gears clicked at the right time, and director Arthur Penn wound up with a national masterpiece he was never able to equal.
It is...the beauty of the screen images against the ugliness of the events that gives the film a constant and poignant sense of irony.
Arguably the most influential film of the late 60s, Arthur Penn's innovative crime saga forever changed the course of American cinema, particularly in the controversial areas of sex and violence and the link between them.
Beatty's slo-mo rolling across the gravel, a muzzle flashing in his hand, is more real to us than Clyde slumped behind the wheel, dead before he realized he was ambushed
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