| Warner Brothers/Seven Arts | Release Date: August 13, 1967 | CRITIC SCORE DISTRIBUTION | ||
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Mixed:
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Negative:
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Critic Reviews
Bonnie and Clyde is the most excitingly American American movie since “The Manchurian Candidate.” The audience is alive to it. Our experience as we watch it has some connection with the way we reacted to movies in childhood: with how we came to love them and to feel they were ours—not an art that we learned over the years to appreciate but simply and immediately ours.
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an American classic: poetically bloody, madly comic, infernally beautiful. [16 Aug 1987, p.3]
The cinema grew up when Penn crafted this movie. Beatty was never better playing boyish insecurity while Faye Dunaway was a smoldering newcomer. Essential viewing for film lovers. [27 Sept 2001, p.14W]
If the movie is better than anything Hollywood has done for a good while, it is still a compromise that barely misses being a self-destruction. Its failures, however, aren't due to any infidelity to history or to the American underlife, but to an incomplete loyalty to its own arresting propositions.
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Bonnie and Clyde could look like a celebration of gangster glamour only to a man with a head full of wood shavings. These two visibly have the life expectancy of dragonflies; their sense of power and of unending gang fun is a delusion, and to see them duping themselves is as harrowing as the spectacle of most other hoaxes.
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Today it has a classical feeling to it, with rich, on-target performances by Warren Beatty, Faye Dunaway, Gene Hackman, Estelle Parsons and Michael J. Pollard. [10 May 1991, p.65]
Though Bonnie And Clyde may have been conceived as a proto-European hybrid and The Graduate a California thoroughbred, the violent hemorrhage that closes the Depression-era/Vietnam-era touchstone makes as good a case as anything in filmed entertainment that American mass media operates in the declarative.
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Director Arthur Penn have elected to tell their tale of bullets and blood in a strange and purposeless mingling of fact and claptrap that teeters uneasily on the brink of burlesque. Like Bonnie and Clyde themselves, the film rides off'in all directions and ends up full of holes...The real fault with Bonnie and Clyde is its sheer, tasteless aimlessness.
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