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The unprecedented combination of comedy and violence in Arthur Penn's Bonnie and Clyde was followed by waves of criticism, praise, and - not surprisingly - imitations. The film itself grew out of a complex cultural and artistic background: the reality and legend of the historical Bonnie and Clyde, the artistic tradition of the gangster film, and the New Wave of French cinema. In this volume, John Cawelti has collected reviews, commentaries, and other materials that probe into these and other aspects of this highly controversial film--Jacket.
She preferred guys with an edge to them. Bad Boys, her mama called them. Then one night she met Clyde and knew her mama was right. If there was ever a bad boy, it was Clyde Chestnut Barrow. He had that look: those dark secretive eyes that never looked directly into yours. He had a pretty face and a smooth way of talking and she liked his silk shirt and the way he fit into it. He liked her too. They were destined to be star crossed lovers who blazed across the hot southwest in a time of drought and trouble. She wanted to be an actress and he wanted to rob banks. In an era that gave birth to the likes of Al Capone, John Dillinger, Pretty Boy Floyd and Baby Face Nelson--Bonnie and Clyde were to become America's version of Romeo and Juliet--with guns! Their love for each other was without rhyme or reason, their attraction and bond unbreakable. They vowed the only thing that would ever seperate them was a bullet. A vow the Texas Rangers hoped to make come true. Bonnie, the beautiful petite blond poet was Clyde's equal in every respect. She was his lover and partner, and was willing to die for her man. Clyde was tough and agile, a troubled soul of a man who loved only two things: bank robbing and Bonnie Parker. Whether behind the wheel of a fast-moving Ford V-8, or the sultry bedroom of a Texas motel, their love and lives were unparalleled in the annals of history. Theirs is more than just a story of a fast and furious short and violent life--theirs is a story of unshakable love and devotion few ever experience.
Clyde Barrow and Bonnie Parker, the notorious Bonnie and Clyde, ruled the front of newspapers and the public’s imagination in the 1930s. While most of the nation suffered under the Great Depression, the duo and their gang pulled off a string of robberies, leaving many dead in their daring escapes. Readers will learn why these two famous figures have been romanticized by so many, even today, and follow Texas Ranger Frank Hamer as his posse tracks down and ambushes the outlaws. Primary sources, historical photographs, and revealing quotations shed more light on the dramatic true story.
This volume contains essays on Arthur Penn's film Bonnie and Clyde.
"In the tumultuous era of the late 1960s and early 70s, several currents of American art and culture coalesced around a broad sensibility that elevated and explored the immediacy of lived experience, whether as an aesthetic or political imperative. But in films set in the historical past, this sensibility acquired complex additional resonances by speaking to the ephemerality of the present moment through a framework of history, myth, nostalgia, and other forms associated with temporal alienation or distance. The Presence of the Past explores the implications of this complex moment in Hollywood cinema through several prominent examples released in the years 1967 to 1974. Key genres are explored in detailed case studies: the outlaw film (Bonnie and Clyde and Badlands), the revisionist Western (Butch Cassidy and the Sundance Kid, McCabe and Mrs. Miller), the neo-noir (Chinatown) and the nostalgia film (The Last Picture Show and American Graffiti). In these films, however, "the past" is more than a matter of genre or setting. Rather, it is a richly diverse, often paradoxical concern in its own right, bridging conceptual territories within soundtrack studies, including the sixties pop score, myth criticism, the representation of media technology, and the role of classical music in compilation scoring. Against a broader background of an industry and film culture that were witnessing a stylistic and aesthetic diversification in the use of music and sound design, The Presence of the Past argues for the film-philosophical importance of the soundtrack for cultivating an imagined experiential understanding of the past"--
In the postwar era, the lure of controversy sold movie tickets as much as the promise of entertainment did. In Freedom to Offend, Raymond J. Haberski Jr. investigates the movie culture that emerged as official censorship declined and details how the struggle to free the screen has influenced our contemporary understanding of art and taste. These conflicts over film content were fought largely in the theaters and courts of New York City in the decades following World War II. Many of the regulators and religious leaders who sought to ensure that no questionable content invaded the public consciousness were headquartered in New York, as were the critics, exhibitors, and activists who sought to expand the options available to moviegoers. Despite Hollywood's dominance of film production, New York proved to be not only the arena for struggles over film content but also the market where the financial fates of movies were sealed. Advocates for a wider range of cinematic expression eventually prevailed against the forces of censorship, but Freedom to Offend is no simple homily on the triumph of freedom from repression. In his analysis of controversies surrounding films from The Bicycle Thief to Deep Throat, Haberski offers a cautionary tale about the responsible use of the twin privileges of free choice and free expression. In the libertine 1970s, arguments in favor of the public's right to see challenging and artistic films were twisted to provide intellectual cover for movies created solely to lure viewers with outrageous or titillating material. Social critics who stood against this emerging trend were lumped in with the earlier crusaders for censorship, though their criticism was usually rational rather than moralistic in nature. Freedom to Offend calls attention to what was lost as well as what was gained when movie culture freed itself from the restrictions of the early postwar years. Haberski exposes the unquestioning defense of the doctrine of free expression as a form of absolutism that mirrors the censorial impulse found among the postwar era's restrictive moral guardians. Beginning in New York and spreading across America throughout the twentieth century, the battles between these opposing worldviews set the stage for debates on the social effects of the work of artists and filmmakers.
This survey of the modern American crime film includes a critical introduction and analyses of fifty notable films.
In this updated and expanded version of this classic study of contemporary American film, Kolker reassesses the landscape of American cinema over the past decade, as he examines works like Munich, A Prairie Home Companion, The Departed, and Funny People, in addition to classics by Arthur Penn, Stanley Kubrick, and Robert Altman.
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