Bonnie and Clyde: Beginning of a New Hollywood Era

BONNIE AND CLYDE Beginning of the t quiter Hollywood Era. becoming and Clyde is a 1967 American execration fool ab bug out livid Parker and Clyde Barrow, the criminal version of Romeo and Juliet, the true flooring of the most be go to sleep lifed yet infamous outlaws, robbers and convicts who journeyed the Central United States during the Great Depression. The exact was directed by Arthur Penn, and stars Faye Dun out-of-door as get under ones skinly Parker, and Warren Beatty as Clyde Barrow. fair and Clyde is reck matchlessd as one of the 60s most talked-about, volatile, controversial crime/gangster films combining comedy, terror, whop, and ferocious violence, and regarded as one of the first films of the New Hollywood era, in which it broke many taboos and was so popular amongst the younger generation. After its success, it further other filmmakers to be more than than forwards about presenting sex and violence in their films. The film was int differenceed as a roma ntic and comic version of the furious gangster films of the 1930s, updated with modern filmmaking techniques.To begin with the film opens with a lap dissolve from a golden, old-style Warner Bros shield, grainy, unglamorous, blurry, sepia-toned snap pictures of the Barrow and Parker families (at the clock of decent and Clydes childhood) gather on a black background, accom trashy by the loud clicking sound of a camera shutter (The credit titles atomic number 18 interspersed with flashes of more semi-documentary, brownnessish-tinged pictures) to an extreme contiguous up of honest applying ruby red lipstick. The import of the lap dissolve is that they leave be linked in the film, and that love exit be involved.The sound bridge in addition emphasis love, as the song concludes with the manner of speaking deep in the arms of love and further links Clyde and beautiful. So from the start, Penn introduces the love story as central to the film, and mountain everything that foll ows from in spite of appearance this frame snip. A subsequent pan right results in a close up of Bonnie reflected in a mirror, revealing her face and her styled hair. The camera does a clever little dance insuring that Dunaway shows volume of skin without really revealing anything, as jagged jump cuts slice away whenever her motion within the rame threatens to bring her desolation crosswise the line of acceptability. The medium picnic that follows shows the water marks in the crown and wall of her low-income frame house, indicating her dire financial straits. When she she flings herself down on her bed, the bars some(prenominal) run diagonally across the harbour and cast shadows across her face indicating for us the prison she feels she feels shes in as she repeatedly strikes the cage surrounding her. found on how she dictum herself in the mirror, she all the way figures she deserves better.The following close up (when she grabs the bars) and sailplane into an extreme c lose up of her eye reflects her torment. As the camera holds her face, we can expose the resignation in her face as she turns to set off dressed for work. Bonnie is pin down in a dead end life. By stressing this aspect of her life, Penn has us ab initio glimpse Bonnie in the beaver possible light. This scene in like manner explains Bonnies following actions in dickens ways. First is that she understands exactly how Clyde must engage felt in prison when they subsequently meet, establishing an immediate bond between them.The minute of arc is that, when Clyde tells her that he cut off dickens of his toes to get out of a work detail, she believes him for the man of action he portrays himself to be , (Boy, did you really do that. ). This comp atomic number 18s favorably with her commit to rise above her own subdued circumstance and take action within her own life. Its understandable then when Bonnie rides off in the car stolen by a man who has robbed a food market store, w ho she has only known a some minutes ( plainly has assigned with emotionally. )The idea of a decent young woman in a dead end township working a dead end job during the Great Depression escaping with a convicted felon is made blush more acceptable by the mise-en-scene and movie theatretography. The deep nidus of the opening scene allows us to take on her room humbly decorated with a small, vulgar collection of porcelain figurines and a plague doll, and a few family photographs are tacked on the drab wall. These details allow us to see Bonnie as an familiar person. Likewise, Clyde is portrayed as a clean cut gentleman with white trilby hat, white shirt, and tie and jacket, and a talented white smile.His jacket, a warm brown earthy brown, softens any inclinations we may aim of him as a criminal afterwardswards Bonnie catches him about to steal her scrams car. The mise-en-scene on the long trailing apoplexy down an empty main Street (except for one elderly inkiness sit ting on a work bench in front of the barber shop) in the small, rural, Southwest Texas town allows us to connect the hard times and limited opportunities (boarded up stores) that surround Bonnie and Clyde and then a close-up of Clydes face. Clydes mouth is dominated by objects, like the Coke nursing bottle and the match, which demonstrate his confidence.Perhaps, a close-up shot is employ instead of the standard wide shot is to emphasize this aspect of Clydes personality. When Bonnie rubs the tip of the bottle of coke across her lips and flicks her tongue in her mouth as she watches Clyde gulped his and smiles, the shot is closed-up to emphasize Bonnies sexual curiousity. In a durable shot, Bonnie both turns aways from Clyde, but then turns back toward him in nightspot to bring out him another opportunity to prove his violence, Clyde pulled out his gun and clandestinely demonstrate it to her.The wide shot allows this action to play out on inter both her change in attitude a s well as his last effort. The wide shot excessively manages to obstruct the gun from the audiences view by not showing it in close-up until later. From this still frame, its even difficult to see what the object that he pulls from his pocket is exactly. Then, a quick close-up of Bonnies face presents her intrigue at seeing Clydes gun. to a close-up of Clydes gun as he holds it at his waist and points it in her direction.The Coke bottles are now put away and scatty from the last couple close-ups as their family relationship moves onto the next stage. The establishing shot of the main driveway in town introduces the flat, empty, barren state of matter all around them. After Clyde robs the marketplace store and during their first escape in the stolen car, the scenes are pretty much earthy cuts of Bonnie smothering Clyde with hugs and kisses as they keel down the dusty country road.During the go getaway, banjo medicinal drug by Lester Flatt and Earl Scruggs (Foggy stool Brea kdown) plays on the soundtrack theme music that accompanies their escapes. This piece of music later will be repeated in often of scenes. In the end of the clip, Well be introduced to the us-against the military personnel theme, where Bonnie and Clyde engaged in a rather serious conversation where after Clyde diverting her physical arousal, entices Bonnie into a glamorous life with his own unrealistic, imbruted and childish fantasies of freedom, wealth and fame.He encourages her to think of him as the answer to her dreams they could make chronicle together. The fact is, on the whole, Bonnie and Clyde is dictated by the quality of its performances, by the four-fold layers and nuances these actors bring to their legendary characters. Most of the characters are portrayed as accurately as possible, however, it seems like the life of Bonnie and Clyde were simplified and exaggerated in the film, in order to keep the film exciting and also convey the emotions and ideas that scenes are trying to get across.Like in the scene when Bonnie first realizes that Clyde isnt much a loverboy, it pours out loads of bullshits about how Clyde, nevertheless, saw something special in Bonnie, which Bonnie demoralizes it, when if youre realistic enough considering her insecurity and desperation to escape her small town ennui, but the director seems to expect the audience to buy it as well, to see this tale as a Hollywood tragic love story. And of course in the end, this is an exceedingly awful film, that brings tragedy full circle, all that more affecting with the disarming comedy, which always seemed to combine the serious tone.However, overall, Bonnie and Clyde has succeeded as one of the first films to bring a new, tougher sensitivity to mainstream Hollywood filmmaking, a sensibility that would come to define the new American cinema as the 60s transitioned into the 70s. It is an openly violent and sexualized pile of the famous criminal couple, testing the boundaries o f screen representation. And thats pretty much the time when we say hello to the New Hollywood Era.