<a href=">Clyde Barrow, recently out of prison, has turned to bank robbery. He meets <a href=">Bonnie Parker and together the two form the nucleus of a gang of bank robbers who terrorize the southwest in the 1920s. Based on the true story of a pair of notorious bank robbers, the film personalizes them while still showing the violence that went along with them.
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&#39;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&#39;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&#39;s older brothers. The only reluctant tag-along is Buck&#39;s nervous wife, Blanche Barrow, a preacher&#39;s daughter. The gang&#39;s life changes after the first fatal shot is fired. Following, their willingness to shoot to kill increases to protect themselves and their livelihood. Their notoriety precedes them, so much so that no matter what one&#39;s opinion is of them, most want to have some association to the Barrow gang, to help them, to be spoken in the same breath as them, or to capture and or kill them. Of the many people they encounter in their crime spree, the one who may have the most profound effect on their lives is Texas Ranger Frank Hamer, who is looking for a little retribution.
I have just spend a funny two hours watching this film.<br/><br/>I disagree with other critics stating that Bonnie &amp; Clyde was factually inaccurate. It probably was, but I don&#39;t see why should that be negative. Even when films are based in true stories they need to be adapted (otherwise they would be news, not films). People going to cinema don&#39;t want to know exactly what happened to whoever, but they want to spend a pleasure and excitement time, and I think this film gets it. Anyone wanting to know accurately the facts of bonnie and Clyde&#39;s real life may go to the library and buy a book about it.<br/><br/>What I found amusing about this film is the way the action goes, and the way the music surrounds the action taking place. Loud gunshooting noises reminded me about Morricone&#39;s soundtrack. This is not a perfect film, but I liked it, I enjoyed particularly a scene which is not very famous, the one when Clyde is teaching Bonnie how to fire. They are aiming at a tire, but we are after that tire, and I felt I was being shooted.<br/><br/>This film obviously musn&#39;t serve as an example of conduct. Bonnie &amp; Clyde were two bandit and assassins. But this film is just for entertainment&#39;s sake, we are not looking for moralines. This is not a Frank Capra film…<br/><br/>I spent a nice time watching this film, and I think it deserves a 7 out of 10.
After reading a good amount of press from around the time of the release and literature looking back on the release of Bonnie and Clyde I found myself comparing the reactions of people watching the movie in 1967 and myself, watching the movie for the first time in 2006. Aside from the pair&#39;s lead-laden demise, the film was pretty standard in terms of the frequency and intensity of the violence. So what does that mean for us and our flock of movies today? What would Bosley Crowther think of a movie like Kill Bill? The vast majority of our modern films contain vast amounts of violence and we don&#39;t even think about it anymore. This is the norm in film these days. The violence in this film originally appealed to people because they had seldom seen anything so brutal and it really was an event to go and see this sexified (in its own way) non-stop bloodbath. Ironically the people most against this type of film and art in general, conservatives that is, are the very people intent on building up our military, executing prisoners, and going into other countries and showing them our own brand of justice, and other forms of actual violence, not the fake kind that is only captured on film.<br/><br/>The Renaissance that this film began was not free from the buy and sell system against which is often seen as the valiant if doomed opponent. People wanted to but tickets to these types of movies so these were the movies that were made. Directors may have had unprecedented creative control that perhaps has yet to be matched but that was only because these singular vision films were moving tickets. This is of course not to say that we as film fans are so lucky that this time existed, but we should all realize that the creative influx was facilitated by the very studios who are now steering film in the direction that it has been going for the past 30 or so years. <br/><br/>That said, looking at this film from my 21st century view I can see a whole lot of worth even in our own times. In terms of film I really love this movie because it has no frills, it just says what it needs to say and does what it needs to do. It lacks the standard issue, oft out of place symphonic soundtrack with perfectly timed flares from the strings to tell exactly when to feel what emotions. The music is very sparse but perfectly used. The actors all give excellent performances, while the character of C.W. Moss, played by Michael J. Pollard was the most peculiar of the bunch. C.W. seems to represent the rebels of the sixties, following some kind of rebellion that really seems to have no real message or unifying direction. When explaining the Barrow gang to his father in the kitchen he really doesn&#39;t know what he&#39;s doing he just knows it&#39;s pretty cool. Without knowing the political and social context in which this movie was released I would probably have a similar take on the movie.
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.
Small-time bank robber Clyde Barrow (<a href="/name/nm0000886/">Warren Beatty</a>), recently out of prison, meets bored West Dallas waitress Bonnie Parker (<a href="/name/nm0001159/">Faye Dunaway</a>), and the two of them, along with Clyde&#39;s brother Buck (<a href="/name/nm0000432/">Gene Hackman</a>), Buck&#39;s wife Blanche (<a href="/name/nm0663820/">Estelle Parsons</a>), and not-so-bright gas station attendant Clarence &quot;CW&quot; Moss (<a href="/name/nm0689488/">Michael J. Pollard</a>), embark on a legendary crime spree, robbing banks all over the Midwest during the Depression era (early 1930s), all the while pursued by Texas Ranger Frank Hamer (<a href="/name/nm0701500/">Denver Pyle</a>). Bonnie and Clyde was based on a screenplay co-written primarily by American screenwriters-directors David Newman and Robert Benton, with script doctor Robert Towne and principal actor Warren Beatty receiving uncredited contributions. Eugene (<a href="/name/nm0000698/">Gene Wilder</a>) had just let it slip that he was an undertaker. Apparently, Bonnie didn&#39;t want to be reminded of her own mortality and the fact that an undertaker&#39;s office is where she and Clyde were eventually, maybe soon, going to end up, so she had Clyde kick Eugene and his girlfriend Velma (<a href="/name/nm0262748/">Evans Evans</a>) out of the car. Another possibility, as evidenced by the next scene in which Bonnie is emphatic about seeing her mother again, is that she realizes that her mother is getting older and, like her, is headed for the undertaker. It&#39;s also been suggested that this scene introduces the notion that Bonnie isn&#39;t entirely happy with her life as a bank robber, which explains why she began writing poetry and why she wanted to have a picnic with her family. Yes, but not immediately. This was confirmed by his sister Marie in an A&amp;E interview that originally aired in 1994. She claimed that Buck was shot through the head—in one temple and out the other—during the shootout at the tourist cabins in Platte City, Missouri. He was further wounded in the back during another shootout four days later in a field near Dexter, Iowa. He died of his injuries at Kings Daughters Hospital in Perry, Iowa five days after his capture on 29 July, 1933. After recuperating from their gunshot wounds at the home of C.W. Moss&#39; father Malcolm (<a href="/name/nm0852305/">Dub Taylor</a>) (Note: in the credits, he is referred to as Ivan), Bonnie, Clyde, and CW go into town. When Bonnie and Clyde are ready to drive home, CW is nowhere to be found, having been warned by his father that he made a deal with Hamer. Clyde notices a police car pulling up beside his car and signals to &quot;Gladys Jean&quot; that it&#39;s time to go home. They drive off together, while CW watches, believing that they have outwitted the police yet again. As Clyde and Bonnie head back to Malcolm&#39;s house, they encounter him on the side of the road changing the tire on his truck. They stop to help, but Malcolm suddenly dives under his truck and Clyde notices a bunch of birds scattering from a tree. Clyde realizes it&#39;s an ambush, but it&#39;s too late. He and Bonnie are mercilessly machine-gunned down. In the final scene, Hamer and his deputies come out from the bushes and view their handiwork. They were shot down on 23 May, 1934. Bonnie is buried at the new Crown Hill Cemetery in Dallas. Clyde is buried in Western Heights Cemetery in Dallas.
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