Male and female thieves--Roger Ebert

Timmy 2022-04-20 09:01:41

The Male and Female Bandit is a landmark work in American film history, full of authenticity and talent. Of course, it's also ruthless and cruel, empathetic, nauseating, comical, heartbreaking, and startlingly beautiful. If it seems like these words shouldn't be strung together, then maybe it's because movies don't always reflect the full spectrum of life.

Simply put, here, life belongs to Clyde and Binnie. They were unknown people who robbed banks and murdered people and posted their pictures in newspapers. They're not very good at robbing banks, but they're pretty good at killing people and hanging their pictures in newspapers.

Bonnie is a waitress who chews gum every day, and Clyde is a tiny guy on parole. But they seem to have the technology to entertain the masses from the start. Bonnie wrote the song and sent the pictures Clyde took with his Kodak camera. They seem to see themselves as people of public service, bringing a little spark to the down-and-out Dust Bowl in Depression's first few years.

"Good afternoon," Clyde would say as he entered the bank. "It's the Barrow Gang." In a way Bonnie and Clyde were pioneers, materializing and further developing parts of the bag in American history for the first time in mass media.

Directed by Arthur Penn, this is a film that directly and relentlessly reflects the times we live in. It tries to be a terrifying entertainment. It is also thought so. Dating kids go back and watch it like they watch "Dirty Dozen" and "Born Losers" and " Hells Angels on Wheels.

" But this time, maybe, they got more ash than they expected. There's a strange inhuman quality to the bags in most American movies. People get shot and then they die, but they don't Pain. Murderers get caught sometimes, so audiences feel like they're getting their movie ticket money back, and the same goes for sex. Both are like cards in a raccoon's shortbread: not worth a penny, but if Go to them and you feel cheated.

But in gangsters, real people die. They were in great pain before they died. Before they feel pain, they laugh, play checkers, have sex, or try to have sex. These things slowly turn into the living people we know, and when they die, we feel that being a spectator isn't enjoyable at all.

When the men and women of gangsters get shot, they really get shot into sieves. Maybe that sounds scary. But maybe at that time, it does have some value to remind us that bullets will really tear the flesh, not just give you a nice round hole, like the Swiss cheese effect in Fearless Fosdick.

We live in such an era. News reports casually mention the "shock" of mass murder, Richard Speck's photo sold for posters at Old Town, Newark's sniper in Life magazine (perhaps they're busy combining lyrics and tunes). Violence has an unreal quality. The Barrow Gang read the media reports about them aloud for fun. When Moss took the wounded Bonnie and Clyde to his dad's house, the old man snorted: "What did they do to you kid? Didn't get your name in the papers." That line was hilarious What? Still tragic?

The acting in the movie was perfect from start to finish. WB and FD, leading the show, surpassed all their previous screen appearances, establishing themselves as - perhaps surprisingly to them - heavyweight actors.

MP, who plays Moss, the crime syndicate's driver and mechanic, manages to combine silly but brilliant humor with authentic appeal in a very memorable way. When Bonnie told him, "We're robbing banks," and asked him to come along, he didn't say a word. But the expression on his face and the movement of his body create a perfect, stunning moment.

Gene Hackman and Estelle Parsons play Buck and BB, the rest of the criminal syndicate, as unspeakable, simple, and brilliant as one might expect. When Buck and his younger brother were reunited, they shouted and beat each other to cover up the fact that they had nothing to say. After the syndicate stormed out of the police block and Buck was mortally wounded, B's high-pitched, stupid screams in the getaway car were enough to be another version of hell to me.

Very clearly, this was the best American movie of the year. It is also a milestone. In a few years it is likely that this film will be seen as the film that defined '60s cinema, full of sadness, sadness and the harsh truths of the society that has ever lived on the screen. The fact that this story came out 35 years ago doesn't say much. It's definitely going to be adapted for release. But it came out at that time, and it became a story that will forever be with us.

View more about Bonnie and Clyde reviews

Extended Reading
  • Jayme 2021-12-07 08:01:40

    "We have no tomorrow." This translation is absolutely amazing.

  • Quinn 2022-03-27 09:01:06

    The Texan dialect is really an expressive language, but instead of the dynamism of detail it provides the sound system, it is exaggerated, even mechanical, performative. This is probably where it is most like Godard's film, a rhythm disorder and emotional dryness, which then evolves into the loss of the situation and the alienation of the audience, but even so, the ending still feels intuitively sad. Arthur Payne is very good at shooting, the image is very rich, from the first shot to the last shot.

Bonnie and Clyde quotes

  • Bonnie Parker: When we started out... I thought we were really going somewhere. But this is it. We're just going.

    Clyde Barrow: I love you.

  • Clyde Barrow: What're you writing?

    Bonnie Parker: I'm writing a poem about us.

    Clyde Barrow: Let me hear it.

    Bonnie Parker: It's called The story of Bonnie and Clyde. You've heard of the story of Jesse James, of how he lived and died. If you're still in need of something to read... here's the story of Bonnie and Clyde.