Bonnie and Clyde (Arthur Penn, 1967) is widely considered to be a landmark film in shaping what would later be known as the New Hollywood era of filmmaking that lasted throughout the late 1960s and early 1970s. There are several important contexts to consider when evaluating what factors influenced the film’s production.
One of the most significant factors to consider is the cultural context within America throughout this period. During the late 1960s, a series of significant cultural events emanated throughout America during this period, including both the Civil rights movement as well as the Vietnam War – two majors sources of conflict and tension that manifested films including both Apocalypse Now (Francis Ford Coppola, 1979) and The Deer Hunter (Michael Cimino, 1978). Bonnie and Clyde arguably spearheaded this new era of filmmaking during this time, often considered to be a reflection of the rebellious spirit of America at the time, coming off the back of the dissolution of the studio system that gradually occurred after the Paramount Case in 1948. It is for the reason why Bonnie and Clyde is often cited as the first film of the New Hollywood era.
Another important context to consider is the historical context of the 1930s – the time period in which the film is set. The real life Bonnie and Clyde carried out their criminal activities during a time in which the lasting effects of the Great Depression were observable all across America, particularly the rural southern states in which the couple’s escapades occurred. The film aptly illustrates this time period, displaying barren streets that are plastered with posters advertising the FDR presidential campaign. As a result, audiences who had lived through this time period themselves were more likely to empathise with Bonnie and Clyde’s struggles within this time of poverty and bleakness.
Institutional and political contexts also played a key role in influencing the production of Bonnie and Clyde. The film was produced by Warner Brothers – one of the ‘Big Five’ Hollywood studios. Throughout the Golden Age of Hollywood, the studio garnered a reputation for making traditional and conservative films, keeping to a ‘house style’ that conformed to the regulations of the Hays Code. Bonnie and Clyde could be considered a drastic departure from this Classical Hollywood style – foregrounding both graphic violence and underlying sexual themes. This was initially viewed as controversial, facing particular opposition from Jack L. Warner who despite his fervent attempts, ultimately failed to block the production of the film. Despite this drastic shift in tone, the film was become a critical and commercial success, in large part due to the support of influential figures within the studio, namely the man responsible for spearheading the film’s release – producer and star, Warren Beatty.
The social context of the 1960s also had an impact on Bonnie and Clyde’s release. The film was released at a time when there was a great deal of interest in the lives of ordinary people and their struggles, which was largely popularised in America through this notion being commonly depicted within French New Wave cinema. Audiences were now exposed to film movements outside of Hollywood after the collapse of the studio system, and as a result, techniques and themes of other movements, including the French New Wave, were gradually imbued into the films of New Hollywood. Bonnie and Clyde took a great deal of influence from this film movement, with the its portrayal of the couple’s relationship and their struggles against the forces of authority resonating with many viewers, aiding the film to inevitably become a cultural touchstone.
Cutting-edge technology of the 1960s also played a role in the production of Bonnie and Clyde. The use of handheld cameras and long lenses served to create a more naturalistic atmosphere throughout the film, with this technology being used in a similar way during the French New Wave to achieve this effect. It was also one of the first films to utilise ‘squibs’ extensively. These were small explosive charges filled with stage blood that would detonate inside an actor’s clothes to purport violence in a more dynamic and authentic manner.
Otis Morley’s A-Level Film Studies Blog 