Bonnie and Clyde is the most excitingly American American movie since The Manchurian Candidate. There is a story told against Beatty in a recent Esquire—how during the shooting of “Lilith” he “delayed a scene for three days demanding the line ‘I’ve read “Crime and Punishment” and “The Brothers Karamazov” ’ be changed to ‘I’ve read “Crime and Punishment” and half of “The Brothers Karamazov.” ’ ” Considerations of professional conduct aside, what is odd is why his adversaries waited three days to give in, because, of course, he was right. If there is such a thing as an American tragedy, it must be funny. I know this is based on some pretty sneaky psychological suppositions, but I don’t see how else to account for the use only against a good movie of arguments that could be used against almost all movies. During the first part of the picture, a woman in my row was gleefully assuring her companions, “It’s a comedy. Maybe it’s because Bonnie and Clyde, by making us care about the robber lovers, has put the sting back into death. No doubt they did, but the sound of his voice, like the sound of Ed Sullivan now, evokes a primordial, pre-urban existence—the childhood of the race. Instead of the movie spoof, which tells the audience that it doesn’t need to feel or care, that it’s all just in fun, that “we were only kidding,” Bonnie and Clyde disrupts us with “And you thought we were only kidding.”. How do you make a good movie in this country without being jumped on? The targets have usually been social and political fads and abuses, together with the heroes and the clichés of the just preceding period of filmmaking. To revisit this article, select My Account, then View saved stories. Bonnie and Clyde brings into the almost frighteningly public world of movies things that people have been feeling and saying and writing about. ( They Live by Night, produced by John Houseman under the aegis of Dore Schary, and directed by Nicholas Ray, was a very serious and socially significant tragic melodrama, but its attitudes were already dated thirties attitudes: the lovers were very young and pure and frightened and underprivileged; the hardened criminals were sordid; the settings were committedly grim. But even for that group there is an excitement in hearing its own private thoughts expressed out loud and in seeing something of its own sensibility become part of our common culture. Because “You Only Live Once” was so well done, and because the audience in the thirties shared this view of the indifference and cruelty of “society,” there were no protests against the sympathetic way the outlaws were pictured—and, indeed, there was no reason for any. The accusation that the beauty of movie stars makes the anti-social acts of their characters dangerously attractive is the kind of contrived argument we get from people who are bothered by something and are clutching at straws. Only a few years ago, a good director would have suggested the violence obliquely, with reaction shots (like the famous one in “The Golden Coach,” when we see a whole bullfight reflected in Anna Magnani’s face), and death might have been symbolized by a light going out, or stylized, with blood and wounds kept to a minimum. It is a horror that seems to go on for eternity, and yet it doesn’t last a second beyond what it should. The Left Handed Gun, with Paul Newman as an ignorant Billy the Kid in the sexstarved, male-dominated Old West, has the same kind of violent, legendary, nostalgic material as Bonnie and Clyde; its script, a rather startling one, was adapted by Leslie Stevens from a Gore Vidal television play. The “classic” gangster films showed gang members betraying each other and viciously murdering the renegade who left to join another gang; the gang-leader hero no sooner got to the top than he was betrayed by someone he had trusted or someone he had double-crossed. That is to say, they should feel uncomfortable, but this isn’t an argument against the movie. Here the script seems weak. This is the way the story was told in 1937. “Bonnie and Clyde” is not a serious melodrama involving us in the plight of the innocent but a movie that assumes—as William Wellman did in 1931 when he made “The Public Enemy,” with James Cagney as a smart, cocky, mean little crook—that we don’t need to pretend we’re interested only in the falsely accused, as if real criminals had no connection with us. In the spoofs of the last few years, everything is gross, ridiculous, insane; to make sense would be to risk being square. But if women who are angry with their husbands take it out on the kids, I don’t think we can blame “Medea” for it; if, as has been said, we are a nation of mother-lovers, I don’t think we can place the blame on “Oedipus Rex.” Part of the power of art lies in showing us what we are not capable of. In You Only Live Once, the outlaws existed in the same present as the audience, and there was (and still is, I’m sure) nothing funny about them; in Bonnie and Clyde that audience is in the movie, transformed into the poor people, the. And the members of this audience do love the bomb; they love feeling that the worst has happened and the irrational are the sane, because there is the bomb as the proof that the rational are insane. In contrast, the Barrow gang represent family-style crime. Actors and actresses who are beautiful start with an enormous advantage, because we love to look at them. The movies may set styles in dress or lovemaking, they may advertise cars or beverages, but art is not examples for imitation—that is not what a work of art does for us—though that is what guardians of morality think art is and what they want it to be and why they think a good movie is one that sets “healthy,” “cheerful” examples of behavior, like a giant all-purpose commercial for the American way of life. In this sense, the effect of blur is justified, is “right.” Our memories have become hazy; this is what the Depression has faded into. In October, Pauline Kael wrote an impassioned defense of the film in the New Yorker. Our best movies have always made entertainment out of the anti-heroism of American life; they bring to the surface what, in its newest forms and fashions, is always just below the surface. 23. The naïve, touching doggerel ballad that Bonnie Parker wrote and had published in newspapers is about the roles they play for other people contrasted with the coming end for them. A professor who had told me that “The Manchurian Candidate” was “irresponsible,” adding, “I didn’t like it—I can suspend disbelief only so far,” was overwhelmed by “Dr. There was something smart about him—something shrewdly private in those squeezedup little non-actor’s eyes—that didn’t fit the clean-cut juvenile roles. Here the script seems weak. y Richard Schickel The A List: The National Society of Film Critics’ 100 Essential Films, 2002. In “You Only Live Once,” the outlaws existed in the same present as the audience, and there was (and still is, I’m sure) nothing funny about them; in “Bonnie and Clyde” that audience is in the movie, transformed into the poor people, the Depression people, of legend—with faces and poses out of Dorothea Lange and Walker Evans and “Let Us Now Praise Famous Men.” In 1937, the audience felt sympathy for the fugitives because they weren’t allowed to lead normal lives; in 1967, the “normality” of the Barrow gang and their individual aspirations toward respectability are the craziest things about them—not just because they’re killers but because thirties “normality” is in itself funny to us. Bonnie and Clyde established the images for their own legend in the photographs they posed for: the gunman and the gun moll. Arthur Penns bereits dritte Verfilmung des Themas mit Warren Beatty und Faye Dunaway musste sich der Kritik möglicher Gewaltverherrlichung stellen. . The movie keeps them off balance to the end. (When I was at college, we used to top each other’s stories about how our families had survived: the fathers who had committed suicide so that their wives and children could live off the insurance; the mothers trying to make a game out of the meals of potatoes cooked on an open fire.) Will we, as some people have suggested, be lured into imitating the violent crimes of Clyde and Bonnie because Warren Beatty and Faye Dunaway are “glamorous”? David Newman and Robert Benton may be good enough to join this category of unmentionable men who do what the directors are glorified for. In 1937, the movie-makers knew that the audience wanted to believe in the innocence of Joan and Eddie, because these two were lovers, and innocent lovers hunted down like animals made a tragic love story. What looks ludicrous in this movie isn’t merely ludicrous, and after we have laughed at ignorance and helplessness and emptiness and stupidity and idiotic deviltry, the laughs keep sticking in our throats, because what’s funny isn’t only funny. (This may help to make her popular; she can seem prettier to those who don’t recognize prettiness except in the latest styles.) They act too much. In 1937, the movie-makers knew that the audience wanted to believe in the innocence of Joan and Eddie, because these two were lovers, and innocent lovers hunted down like animals made a tragic love story. It may, on the contrary, so sensitize us that we get a pang in the gut if we accidentally step on a moth. A new generation enjoyed seeing the world as insane; they literally learned to stop worrying and love the bomb. For a more extended discussion, see Pauline Kael's book Reeling. And why not? I know this is based on some pretty sneaky psychological suppositions, but I don’t see how else to account for the use only against a good movie of arguments that could be used against almost all movies. If the story of Bonnie Parker and Clyde Barrow seemed almost from the start, and even to them while they were living it, to be the material of legend, it’s because robbers who are loyal to each other—like the James brothers—are a grade up from garden-variety robbers, and if they’re male and female partners in crime and young and attractive they’re a rare breed. How do you make a good movie in this country without being jumped on? It made no impact on the postwar audience, though it was a great success in England, where our moldy socially significant movies could pass for courageous. Penn is a little clumsy and rather too fancy; he’s too much interested in being cinematically creative and artistic to know when to trust the script. Lamont Johnson’s The Last American Hero has a source in an Esquire article Tom Wolfe wrote several years ago about a stock-car racer and automobile customizer named Junior Johnson. Yet the appearance of Furthman’s name in the credits of such Howard Hawks films as “Only Angels Have Wings,” “To Have and Have Not,” “The Big Sleep,” and “Rio Bravo” suggests the reason for the similar qualities of good-bad-girl glamour in the roles played by Dietrich and Bacall and in other von Sternberg and Hawks heroines, and also in the Jean Harlow and Constance Bennett roles in the movies he wrote for them. This is Pauline Kael's second book of film reviews, covering 1965- 1967, when she was freelancing and yet to be attached to The New Yorker magazine. Save this story for later. Though one cannot say of “Bonnie and Clyde” to what degree it shows the work of Newman and Benton and to what degree they merely enabled Penn to “express himself,” there are ways of making guesses. She marries him, and learns better. “You Only Live Once” was an indictment of “society,” of the forces of order that will not give Eddie the outcast a chance. Those too young to remember the Depression have heard about it from their parents. Arrested again and sentenced to death for a crime he didn’t commit, Eddie asks her to smuggle a gun to him in prison, and she protests, “If I get you a gun, you’ll kill somebody.” He stares at her sullenly and asks, “What do you think they’re going to do to me?” He becomes a murderer while escaping from prison; “society” has made him what it thought he was all along. Though one cannot say of Bonnie and Clyde to what degree it shows the work of Newman and Benton and to what degree they merely enabled Penn to “express himself,” there are ways of making guesses. Your email address will not be published. Playfully posing with their guns, the real Bonnie and Clyde mocked the “Bloody Barrows” of the Hearst press. But he has a gift for violence, and, despite all the violence in movies, a gift for it is rare. If the popular audience is generally uninterested in the director (unless he is heavily publicized, like de Mille or Hitchcock), the audience that is interested in the art of movies has begun, with many of the critics, to think of movies as a directors’ medium to the point where they tend to ignore the contribution of the writers—and the directors maybe almost obscenely content to omit mention of the writers. And because they understood that you don’t express your love of life by denying the comedy or the horror of it, they brought out the poetry in our tawdry subjects. The thirty-year anniversary of the release of Bonnie and Clyde occurred in 1997. As we hear the lines, we can detect the intentions even when the intentions are not quite carried out. Beatty was the producer of “Bonnie and Clyde,” responsible for keeping the company on schedule, and he has been quoted as saying, “There’s not a scene that we have done that we couldn’t do better by taking another day.” This is the hell of the expensive way of making movies, but it probably helps to explain why Beatty is more intense than he has been before and why he has picked up his pace. If movie stars can’t play criminals without our all wanting to be criminals, then maybe the only safe roles for them to play are movie stars—which, in this assumption, everybody wants to be anyway. She compares Bonnie and Clyde to Fritz Lang’s You Only Live Once, Nicholas Ray’s They Live By Night and William Wellman’s The Public Enemy, … (“They Live by Night,” produced by John Houseman under the aegis of Dore Schary, and directed by Nicholas Ray, was a very serious and socially significant tragic melodrama, but its attitudes were already dated thirties attitudes: the lovers were very young and pure and frightened and underprivileged; the hardened criminals were sordid; the settings were committedly grim. Strangelove”: “I’ve never been so involved. Such people see Bonnie and Clyde as a danger to public morality; they think an audience goes to a play or a movie and takes the actions in it as examples for imitation. And because the element of the ridiculous that makes the others so individual has been left out of her character she doesn’t seem to belong to the period as the others do. 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