Hit Me With Your Best Shot: "Bonnie & Clyde"

This week's episode of 'Best Shot' features one of my all time favorite films Bonnie & Clyde (1967). Even if you just want to look at one scene and stop you're pulled in, right into the cramped cars and you're along for the whole ride. It never stops until it's so bullet-riddled it can't get back up again. Few films have ever felt as alive as this classic. The most impressive thing about Bonnie & Clyde nearly a half century later is that it still feels electric. Is it the way it fuses 30s and 60s and in so doing transcends anything to do with "dates" of production? Is it how completely adult it is in tone despite the youthful abandon?

Bonnie (Faye Dunaway) meets Clyde (Warren Beatty) in the first scene and by the eight minute mark she's lept in his car for good. Because the movie moves so quickly we're doing the same. My choice for best shot comes right before this crucial decision. The couple have been flirting for roughly eight minutes of real time, and Bonnie is so hot for the beautiful thief that she's practically felating her coke bottle while staring at him. Bonnie expresses doubt that Clyde's a real criminal, essentially daring him to prove it, and he pulls out his gun.

But you wouldn't have the gumption to use it."

Naturally she, uh, strokes it. Such a perfect image for a movie about a love affair that's consummated through crime.

Their horny paired reaction shots to the gun stroking...

This movie is dirty.

Rather shockingly, they do not immediately tear each other's clothes off. It's not for lack of trying on Bonnie's part but Clyde is quicker to whip out his gun than his cock so a substitute it'll have to be.

In the casting alone the movie achieves greatness. It's hard to believe that the infamous loverboy Warren Beatty is an impotent charmer and Bonnie (Faye Dunaway, utterly brilliant) can't believe it either. She's angry and devastated. Bonnie and Clyde's unfulfilling sexual life paired with Faye & Warren's undeniable chemistry eroticizes the entire movie even when "sex" is not the subject.

The early gun stroking shot finds a brilliant counterpoint later in the film when Clyde can't get it up in a love scene and Bonnie roll over, away from him. Clyde isn't even in frame but his "gun" is.

The French call an orgasm "the little death" and this 1967 masterpiece channeling the French New Wave for America makes the same connections. From the minute Bonnie leaps in Clyde's stolen car, desperate to sex him up, she's a goner. In one terrific seemingly incongruous scene, the Barrow gang pick up a married couple and tease and taunt them until the man reveals that he's an undertaker. Bonnie clouds over, instantly demanding their rejection from the car. She knows that death is imminent. For her it's right there in the car.

The Best Shot Gang.
(Wanted in five states)
Antagony and Ecstasy has a smart post on the film's synthesizing of '60s pop culture.
Serious Film has a wonderful post that's more than just Bonnie & Clyde. It's that moment when you know it's coming.
The Film's The Thing looks at the people in the pictures, Depression era style.
Film Actually  Bonnie seeks solace in the oddest places
Pussy Goes Grrrr  "lust blossoming from small town tedium."

Next on "Hit Me..."
04/04 Easter Parade (1948)
04/11 Snow White and the Seven Dwarves (1937) 

The Morning After

We always need a bit of time to recuperate. We'll be wrapping this year's Oscars up tonight through Wednesday. But for now... chilling. It's the morning after.

We've all seen this stone cold classic photo of Faye Dunaway the morning after her Oscar win for Network but Framework was kind enough to share more photos (and other Oscar types) in a slideshow gallery  and I did a little more searching too.

More "Morning After" after you click including Best Scene Steal and 2 Greedy Gretchens.

Click to read more ...

Curio: Tinker Tailor Condor Spy

Alexa here. Tinker Tailor Soldier Spy was one on my favorite movies this year, so I was a bit disappointed this morning at its lack of notice by the Academy for Best Picture. But I wasn't surprised, what with most of the predictions not mentioning it (including Nathaniel's).  Perhaps it was too professorial, too quiet, too stodgy for most. Thankfully Gary Oldman got his nomination for managing to seep George Smiley from every pore, and its le Carré-adapted screenplay got notice.

Thinking about it while listening to the nominations I was reminded of another one of my favorite spy-intrique films with a 70s setting, Three Days of the Condor, similarly ignored by the Academy in its time (save for an editing nomination), despite its timely post-Watergate release. Sydney Pollock's film is certainly the sexier of the two, with Redford and Dunaway in their heyday, but one glance at Max Von Sydow's glasses and you know you're in a similar landscape to Tinker Tailor.  Here is a cheesy Rona Barrett's Hollywood magazine I bought simply for it's coverage of the film, and its entertaining barely-there tidbits about the filming of this classic, 35+ years ago.  Add it to your queue if you haven't seen it.

[Filming of] Condor took place entirely on location in and around New York City...During one exterior scene that called for a winter rain, the co-eds of the nearby Finch College cut classes to gawk at the publicity shy REDFORD and scramble for his discarded paper cups! But ROBERT's presence was felt [also] by the appreciative crew, which got careful instruction from the superstar-ecologist on how to defoliate the plant life used in the scene without harming them.

Co-star MAX VON SYDOW gingerly commuted between Denmark and Manhattan while finishing up [on a] Scandinavian film. FAYE DUNAWAY seemed not only to enjoy doing the film but loved having the chance to love a few weeks in her beloved New York City. She and her husband, PETER WOLF, maintain a Central Park West apartment where married life definitely agrees with them.

Theadora Van Runkle (1929-2011)

Take off those berets and fedoras and pay your respects. The great costume designer Theadora Van Runkle, a three time Oscar nominee, passed away this past Friday of lung cancer at 83 years of age [src]. For those who don't immediately connect her name to her movies, know that her work was seismic. 

Her most famous creations were actually those done on her very first feature Bonnie & Clyde (1967). She was able to do the picture only after Warren Beatty and the costume designers guild president screamed at each other for half an hour (she was not a guild member then) according to Mark Harris's invaluable tome Pictures at a Revolution: Five Movies and The Birth of New Hollywood.  She had never done a film and at one tense point admitted to Warren Beatty that she had no idea what she was doing. 

After Beatty vetoed her first period-specific ideas, she came up with the now legendary out of time ensembles that nodded to both the 1930s (when the story takes place) and contemporary 60s French New Wave that the project had always hoped to emulate (Beatty had originally wanted François Truffaut himself to direct).

You see people who are great beauties and never get anywhere. This was style."
-Theadora Van Runkle on Dunaway as Bonnie. 

Van Runkle even claims that she was the one who brought the unknown Faye Dunaway to Beatty & director Arthur Penn's attention. "There's the girl you should cast!" though there are competing legends as to how Dunaway first came up in the long search for the girl.

Because of the tight budget, many of the costumes worn by other characters weren't actually Van Runkle's designs but costuming the titular pair was enough to win her a permanent place in movie history and her first Oscar nomination. She was later nominated for both The Godfather Part Two (1974) and Peggy Sue Got Married (1986).

Those Oscar nominated movies were hardly the only memorable gigs. Other showy movies included the infamously delirious transgendered farce Myra Breckenridge (1970), the ill-fated Mame (1974), the post-war romantic drama New York New York (1977) and the bawdy gaudy musical The Best Little Whorehouse in Texas (1982).

I'll always have a special place in my heart for her work on Peggy Sue Got Married. I love that too-shiny / too-tight gown that Peggy Sue is proud she can still fit into at her 25th reunion. Like Bonnie, Peggy Sue is straddling two eras, this time literally; a lovely mirage of the past clinging to a totally contemporary soul.

Good night and thank you, Theadora.

"I think you know all you need know about me."

I didn't want publicity. I didn't want to go into any of this then or now.

Is that all?"