After watching it, two scenes hit me in particular, so I quickly found the script and looked at it.
1. Suburbs:
She gets out of car, leaving CLYDE draped across the front seat, reaching after her.
CLYDE (almost shouting) If all you want's stud service, then get on back to West Dallas and stay there the rest of your life!
This stops her. Now CLYDE pours it on, with an almost maniacal exuberance that becomes more controlled as he gets control of BONNIE.
CLYDE But you're worth more'n that, a lot more, and you know it, and that's why you come along with me. You could find a lover boy on every corner in town and it doesn't make a damn to them whether you're waiting on tables or picking cotton, so long as you cooperate. But it does make a damn to me!
BONNIE(turning, intrigued)
Why?
CLYDE Why? Because you're different! You're like me and you want different things.
BONNIE is hooked now.
CLYDE (continuing) You and me travelin' together, we could cut clean acrost this state, and Kansas, too, and maybe dip into Oklahoma, and Missouri or whatnot, and catch ourselves highpockets and a highheeled ol' time. We can be somethin ' we could never be alone. I'll show you...when we walk into the Adolphus Hotel in San Antone', you wearin' a silk dress, they'll be waitin' on you and believe me, sugar, they' re gonna know your last name.
He stops, having begun to woo her to something more intense than a casual, physical coupling.
BONNIE When'd you figure that all out?
CLYDE First time I saw you.
BONNIE How come?
CLYDE (intensely, with real honesty) 'Cause you may be the best damn girl in Texas.
Close-up. BONNIE.
BONNIE Who are you, anyway?
I was attracted by the characters in the whole play. After watching this part, I will know why Bonnie is not just a boring and frustrated girl, but a very aura girl. Because the boy said a series of nice things, she asked him "why" and "when", she wanted to know when he started having these thoughts, whether he was sincere, not immersed in mindless shame or joy .
But from the script alone, the male protagonist's series of statements seem to be taken for granted. The first reaction is that this set has been told to more than one girl! When I rewatched this episode, I really felt that the two actors played very well, and Warren Beatty played very sincere, impatient, anxious and sincere, a kind of desperate and so on.
2. EXT. SIDE OF A ROAD. VERY LONG SHOT. DAY.
--of three or four cars parked on the side of a road in Texas. A light rain is falling. There are a lot of people gathered around, but the sound is an indistinct mixture of talk, laughter, etc.
There follows a quick montage of cuts which isolate specific moments in the family reunion, thereby implying the entire tone of the proceedings. The sense of family pervades.
Montage. BONNIE and MOTHER. BONNIE's mother, an old woman, grabs her and hugs her and cries.
Montage. BONNIE, CLYDE, MAN. A man, an uncle perhaps, stands with BONNIE and CLYDE, arms around them both, hugging them to his sides tightly.
Montage. BONNIE and sister. BONNIE's sister hands them a scrapbook of clippings.
SISTER Here you are, we been cuttin' and pastin' everything we could find about you in the papers.
CLYDE, BONNIE, BUCK and BLANCHE all look at the scrapbook. We see a page of it, showing newspaper articles with the photographs the gang took back at the motel.
BUCK Hey look, here's that one I took of you, Clyde. That came out just fine!
Montage. BONNIE, CLYDE, MAN. BONNIE and CLYDE are posing for a comic snapshot. A silly looking male relative is posing, pointing a gun at them. They have their hands in the air and are grinning broadly. (The effect should be funny and simultaneously frightening.)
Montage BUCK, SMALL BOY. BUCK is sitting with a little four-year-old on his knee, bouncing him up and down and singing. Both are having a fine time.
BUCK (singing) Oh, Horsey! keep your tail up, keep yer tail up, keep yer tail up, Oh, Horsey! keep yer tail up, Why don't you make it rise.
Montage--CW A hand off camera thrusts a sandwich at CW He opens the bread to see what's inside it, then eats it.
Montage--BONNIE & SISTER. BONNIE sits stock-still while her sister gives her a permanent in the back seat of a car. He sister pauses, setting down the curling iron. She strokes BONNIE's yellow head with her hand, as though she were a wild animal that had paused long enough to be petted. BONNIE turns to see her sister's expression. They embrace.
Montage--Family picnic--Favoring CLYDE, MOTHER & BONNIE. CLYDE, in his best theatrical manner has been playing host in the sand pile, perhaps using some sort of towel across the arm or around the middle. The party is beginning to break up now as used paper plates and crumpled napkins are blowing across the sand and the group is finishing up on Eskimo pie.
BONNIE'S UNCLE (rising) Where y'all headed from here?
CLYDE (right back) I don't know, what y'all got in mind? At this point we ain't headin' to anywhere, we're just runnin' from.
CLYDE laughs, in fine spirits. Reaction--BONNIE. She doesn't.
BONNIE'S SISTER'S VOICE: C'mon, down, Litte Tom! We're goin' home. Little Tom? Mathew, fetch Little Tom.
BONNIE Don't go yet, Mama.
UNCLE'S VOICE (cutting in) C'mere, c'mere you little corn roller.
Wide angle. As Uncle sweeps up the laughing little Tom.
Reaction--BONNIE. BONNIE turns with increased urgency to her MOTHER, who, having been hefted to her feet by BONNIE's sister, has turned to CLYDE, who gives her a big, boyish hug.
MOTHER ...you know, Clyde, I read about y'all in the papers and I'm jes' scared.
BONNIE (to Clyde) Sugar, make mama stay a while yet.
CLYDE (ignoring Bonnie, as does Mother, ebulliently, even joshing)
Now Mrs. Parker, don't y'all believe what you read in the papers! That's the law talking there. They want us to look big so's they'll look big when they catch us.
He knows he's stumbled onto the wrong thing, but he bounces right along--it's his style.
CLYDE --and they can't do that. Why, I'm even better at runnin' than robbin' banks--aw shoot, if we done half the stuff they said we did, we'd be millionaires, wouldn't we, old sugar. (he turns to Bonnie who continues to stare at her Mother)
And I wouldn't risk Bonnie here just to make money, uncertain as times are. Why one time I knowed of a job where we could of make $2000 easy, but I saw the law outside and I said to myself, why Bonnie could get hurt here. So I just drove right on and let that money lay.
He waits for a response, as does BONNIE. BONNIE's MOTHER smiles, a little abstractedly.
MOTHER ...Maybe you know the way with her, then. I'm just an old woman and I don't know nothin...
She trails off, looking nowhere in particular. CLYDE takes her reaction to mean that he's overwhelming her with his confidence, and continues to pour it on.
CLYDE We'll be quittin' this just as soon as the hard times is over, Mother Parker, I can tell you that. Why me and Bonnie were just talkin' the other day and we talked about when we'd settle down and get us a home, and Bonnie said, "I couldn't bear to live morn'n three miles from my precious mother." Now how'd you like that, Mother Parker?
BONNIE's MOTHER has undergone a funny sort of transformation during CLYDE's speech--as if something had suddenly come into focus before the old woman's eyes.
MOTHER Don't believe I would. I surely don't.
(to Bonnie) You try to live three miles from me and you won't live long, honey.
(to Clyde) You'd best keep runnin' and you know it, Clyde Barrow.
(matter of fact) Bye, baby.
She hugs BONNIE who can barely respond. We move in for a closeup of BONNIE as her various relatives, young and old come by to squeeze, kiss and hug her with a chirpy little chorus of Bye, Bonnie! Bye, Bonnie, bye, bye , bye.
Doing the most daring thing is still like two children in front of the mother.
The old man is as wise as ignorant and simple language.
Bonnie's every reaction shot is breathtaking.
three,
The "vulnerability" of the male protagonist: he leads the Barrow Gang, his marksmanship is accurate, and he has the courage. But a thief with a bottom line is doomed to a tragic end, but his fragility is precisely the most touching.
1. The first time they met, he couldn't respond to the girl's courtship;
2. When he was robbing the bakery, someone rushed over with a knife. He couldn't fire the gun. He ran out angrily, scared and in pain. "Why did he kill me?"
3. Bonnie is sleepless in the middle of the night, but he pretends to be asleep;
4. The next day, he robbed a bank, escaped and was chased by others. He killed a person in a hurry. In the theater, he was in so much pain that he said he had become a murderer;
5. After killing someone, you told Bonnie that you should go back to your mother, but got a confession from B, but still didn't show up after being passionate;
6. After a shootout and an argument with his sister-in-law in the car, the two stopped and had a big fight. B satirized that he couldn't have sex. Clyde was stunned, speechless, and turned away. Afterwards B regretted chasing after him, Clyde put his arms around his chest almost to protect himself, (this performance was amazing), looking at B's sincere expression, C held Bonnie's face in both hands and watched carefully;
7. C is a person who is quite sure of everything, but after B was spat on by the riding police detective, he was furious and almost killed the police officer;
8. He tried not to kill people when he robbed money, deterred people from hitting people, only robbed banks and not individuals...
9. In order to please my mother-in-law, she naively painted an impossible blueprint for the future...
10. At the end, the two finally fit together successfully. Afterwards, he was delighted and carefully asked how it was...
4. Death
Death has always been a shadow lurking in Bonnie's heart. When this word first appeared in real life, someone he met on the way said he was in the funeral industry. Bonnie seemed to see death appear before him.
From this moment until the end of the film, death is the theme.
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