“We have no tomorrow” is another Chinese translation of the “Bonnie and Clyde”. If the film begins with a subtitle like this, the tragic tone of the film and the ultimate fate of the characters are obvious. To be honest, it was a bit of a surprise to see Bonnie and Clyde killed in the end. The purpose of creating such an anti-hero image is to attack the dark side of social injustice. However, this can only be seen in the film, and it is finally killed.
Two weeks before she died, Bonnie left her mother with a set of poems, The Story of Bonnie and Clyde, which she read to Clyde. The poem recalls the original beauty, accuses the law and plant, expresses pride and helplessness, and predicts the doom of destruction. The mood of this poem can be said to be the tone of the film.
The case of Bonnie and Clyde has been visited numerous times on the FBI website. The brief introduction begins: May 23, 1934, Shreveport, Louisiana. Clyde Barrow, the notorious Texas murderer, and his cigar-smoking girlfriend, Bonnie Parker, were shot today in an ambush by a Texas state trooper in one of the most dramatic ambushes in American history.
An ambush site near highway 154 gibbs land
Earlier in the day, a team led by Frank Hamer, a former Texas ranger captain, lay in wait on a path, holding their breath for the ford v-8 that was coming from a distance. At 9:15 a.m., the target came from far away, hurtling into the elaborate death trap at 85 MPH. Hamer recognized the car, which was driven by wanted man Clyde. Six automatic rifles were fired into the carriage at once. The shots were so loud that Hamer said he was deaf after several hours. In less than two minutes, the six horsemen fired 167 rounds. Almost without resistance, the “dangerous American lovers” were shot dead on the spot.
Back to the beginning, in January 1930, Clyde met Bonnie making hot chocolate at a family gathering of friends. When Bonnie was 19 years old, after her father died, the family was forced by poverty to move to the west Dallas slum known as “the devil’s backyard”, and life after dropping out of school was a dead-end job serving dishes. Almost immediately Bonnie fell in love with Clyde’s childish ways. “I was fascinated by the way he wore a suit and drove, even though I knew it was probably stolen.” She soon adjusted to Clyde’s “way of life.”
Soon after, despite her family’s efforts to stop her, bonnie joined the crime spree in barrow. Here for 1933 years, bonnie and Clyde kissing photos.
In one column, the author argued that “they were young and did what they wanted to do,” while Bonnie, as a female character, “made their desire to be irreplaceable individuals seem sincere because of her presence.”
Bonnie jokingly pointed a gun at Clyde in 1933. The photograph has since appeared in the press many times and has become one of their most famous photographs.
Case studies and biographical accounts of bonnie and Clyde kept coming, and their “legend” became the subject of songs, books and Broadway musicals. The frenzy continued unabated, culminating in the 1960s. The 1967 film ” Bonnie and Clyde ” was a watershed moment for both old and new Hollywood. Not only did it make a considerable amount of money at the box office, but it also won two Oscar statuettes. Bonnie and Clyde, the role models, went from villain and fugitive to screen icon.
Still from Bonnie and Clyde. The movie’s classic line, “we rob Banks,” has long been a favorite of fans.
In the movie, Bonnie and Clyde come to a farmer’s house. The farmer looks sad and says, “the bank robbed my house.” The two men got back in the car and, after a moment of reflection and excitement, decided to rob the bank. The baby boomers were immediately captured by this “antigovernment hero,” and in the face of a “still failing economy,” young people yearned for the wildness, vagrancy, and collapse of the “Bonnie and Clyde” spirit of rebellion that coincided with the counterculture of the 1960s.
I think the film is a bit like a European, especially a French art-house film. It reveals the style of European films at that time from its characters, story structure, expression techniques and shooting techniques. At that time, many Hollywood directors, such as Coppola and Altman, began to learn from the experience of European directors and launched the new wave of American films. Bonnie and Clyde was probably the beginning of the new wave. It not only pioneered the violent film mode, but also influenced many violent films, such as “reservoir dogs” and “born to kill”.
What makes this film great is not only the story (though it’s also nominated for best original screenplay), but also the style of the director, the handling of the camera, the art rendering and so on. It’s a mix of gangster movies, road comedy and romance. Killers are flesh and blood; The “good people”, however, had their own private vendetta. Bonnie and Clyde, they’re young, they love each other, they take risks, they take risks; They once confused, they are unwilling to ordinary, they rob the rich to help the poor, they are attached to the family. The director was effusive in his sympathy for the hero. Clyde’s sexual handicap is a myth, but a good symbol of social incompetence. The image of his gun as a phallus appears many times, which extends from the meaning of “violence makes up for impotence” to the meaning of “falling grass is bandit is the social status quo forced liang shan”. The Dust Bowl scene is superbly re-created (it won an Oscar for best cinematography) and the reunion scene is filtered into a dreamlike haze. Have to say, of course, and finally the classic massacre: when Clyde is trying to help Moss, torre in tires, a car which seen in the distance, then a flock of birds was flying, followed by the bushes, and torre drill to drive, Bonnie and Clyde realized that the time will come, they looked at each other, feeling after being into a sieve. Sharp lens jump has obvious traces of the French New Wave (French New Wave), the film is originally to the French New Wave flag bearer truffaut, director, but he was taking the 451 degrees and had to give up), and that gore brains popped up with a bullet hole in challenge is about the Hays code.
In the late 1960s, after the impact of the rise of television and the impact of the French New wave, Hollywood movies began a period of so-called New Hollywood movies. The term first appeared on the cover of time magazine in a review of the film. Its restlessness, its violent aesthetics (the first use of hidden firecrackers to splash plasma), its dark humor, and its eclecticism set the tone for this new wave of American cinema. Echoing Kennedy’s assassination and the lack of faith in the Vietnam war watergate scandal, and the deviance of rock and hippie culture, such classics as a clockwork orange, Chinatown and taxi driver were born in the 1970s.
Warner bros., initially underwhelming, relegated the b-movie to a lower-rated theater. Critics see it as a monster, glorifying murderers, promoting violence and making no sense of it. But after the film went offline, but gradually there are some voices of praise; A prominent film critic changed his tune, and warner bros. It took in $50 million in North America alone, at a cost of $2.5 million. To that end, the New York times fired one critic who scolded it, and another who praised it got a job at the New Yorker. Warner bros. ‘is a mixed bag: box office Numbers are good, of course, but they agreed to give 40 percent of the box office to leading investor and actor Warren Beatty because they were dismissive of the movie. The money made him an instant multimillionaire, making it easier to invest in future projects (he was later nominated for several Olympic prizes as a producer).
“People are coming together to design a new outlet for emotion.” John Neal Phillips, a Dallas historian, explains the near-epidemic of “Bonnie and Clyde”. As he criticises it, the consequences of the misuse of “freedom” are soon apparent. People claim that “people are their own masters”, that they buy guns to “give people the ability to protect themselves and their families”, and that they buy drugs because “people have the right to decide what can get into their bodies and blood”. For a moment, the illusion of freedom was everywhere.
Perhaps, as Jeff Guinn, an American journalist, argues in his new book, the craze for Bonnie and Clyde, and the reason their stories keep being told, is because they satisfy the fantasy of rebellion against the government, against the rich, and for some kind of heart-stopping love during the great depression.
As the tagline for “Bonnie and Clyde” says, “they’re young, they’re in love, and they’re killers.”
“As long as the nightmare economic crisis continues, Bonnie and Clyde, the bank robbers from Dallas, will survive.”
Film clip
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