The infamous Bonnie and Clyde are known for the violent tirade of robberies and car thefts throughout the early 1930’s. However, not everyone knows how these two young individuals ended up the way they did. This is the story of an unassuming waitress–Bonnie Parker (Faye Dunaway)–and ex-convict–Clyde Barrow (Warren Beatty–as they meet for the first time and quickly hit it off. As the two journey down a dangerous road, the world will soon know their names, and those names will strike fear into anyone who hears them.
As Bonnie and Clyde opens, we see a nude Bonnie wandering around her room. At this moment, literally just seconds after the opening credits, it becomes clear that the cinematography is something special. Director Arthur Penn and Director of Photography Burnett Guffey clearly attempt to, while enticing viewers with Dunaway’s nude figure, keep things classy, and they are successful. They beautifully capture the odd, somewhat frazzled nature of Bonnie while fully omitting nudity and keeping this scene as close to aesthetically wholesome as possible. Opening scenes often reflect what is to come and are typically a manifestation of the crew’s abilities, and in this opening scene, the talent present within each of the individuals working on Bonnie and Clyde becomes immensely apparent.
In some ways Bonnie and Clyde is years ahead of itself. In particular, the acting of both Dunaway and Beatty mirrors something one might find in a modern blockbuster rather than a 1960’s flick. Films released in the 1980’s and prior can sometimes feel over-scripted, and as a result the acting feels less than genuine, but not here, that’s not something you’ll find in either of the leads. Both Beatty and Dunaway come off as truly genuine, making each and every one of their lines feel real and relatable; their talent is impeccable and brilliantly captivating. Every once in a while actors find themselves in a role that they portray so well that viewers can’t picture anyone else in their place. Both Beatty and Dunaway fit into this category, as it seems impossible that anyone other than these two would have found as much success in these roles, and had anyone else portrayed these characters, Bonnie and Clyde wouldn’t have done as well. While I knew of both Dunaway and Beatty prior to watching Bonnie and Clyde, I imagine that it will be difficult to separate them from Bonnie and Clyde in the future.
There is an aspect of the film that is sure to draw some criticism, and that is the way in which Bonnie, Clyde, and the rest of the Barrow gang are often painted in a positive light. The glorification of both Bonnie and Clyde is, in fact, a bit off-putting. While writers David Newman, Robert Benton, and Robert Towne–as well as Penn–needed to find ways to have their audience connect with these characters, and there are certainly aspects of this twisted group that could be presented to audiences in a positive way; however, the reality is that presenting these characters in this positive fashion is quite damning. Bonnie and Clyde often depicts the titular characters as somewhat generous and sympathetic, and, honestly, that’s not what the film needed. It needed to be unrelenting in its telling of Bonnie and Clyde on their destructive journey of robbery and murder, painting them as the villains of their own story, rather than some sort of anti-hero. This aspect, and this aspect alone, is what drags this film down, keeping it from the rafters of cinematic greatness.
What Bonnie and Clyde was able to accomplish in terms of acting and cinematography back in the 1960’s is incredible, seemingly years ahead of itself. The prowess of Penn and everyone involved in bringing this film to life possess clear talent and work together spectacularly to create a spectacle so vibrant and full of life that it’s sure to entertain.
Directed by Arthur Penn.
Written by David Newman, Robert Benton, & Robert Towne.
Starring Warren Beatty, Faye Dunaway, Michael J. Pollard, Gene Hackman, Estelle Parsons, Denver Pyle, Dub Taylor, Evans Evans, Gene Wilder, etc.
⭐⭐⭐⭐⭐⭐⭐⭐/10
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