french new wave – Otis Morley’s A-Level Film Studies Blog

Component 1a: Hollywood 1930-1990 (Comparative Study) — Contexts

Compare how far your chosen films reflect their different production contexts.
Sample Assessment Materials

Plan:

Introduction

Casablanca (Michael Curtiz, 1942) and Bonnie and Clyde (Arthur Penn, 1967) are two films that are shining exemplars of two starkly contrasting production contexts within Hollywood. Casablanca was a film produced by Warner Brothers under the Hollywood Studio System during the Golden Age – one which epitomises the rigid and traditional Classical Hollywood style of the era. Conversely, Bonnie and Clyde sought to defy the preconceptions of the Golden Age after the dissolution of the studio system, taking influence from the French New Wave to employ modern technology and unorthodox filmmaking techniques. The film foregrounds a gritty portrayal of two real life criminals – one which does not shy away from graphic violence and sexual undertones – birthing the New Hollywood era of filmmaking.

Body

Institutional context: Compare how Casablanca was produced by Warner Bros under the studio system (vertical integration, unbreakable contracts, star system, Hays code etc.). Whereas Bonnie and Clyde was produced after the Paramount Case, allowing for a greater deal of creative freedom within Warner Bros.

Technological context: Compare the styles of filmmaking (Classical Hollywood style vs French New Wave-influenced style). Mention specific examples rooted in key sequences, alongside the technology available to the studios. Filmed in the studio vs on-location.

Historical context: Compare how Casablanca was filmed and set during the First World War (Vichy water implications), but Bonnie and Clyde is set in a Great Depression 1930s (FDR posters plastered on the wall) , but released during the 1960s.

Comparing how the film stars are presented: Casablanca (Ilsa is glamorous and pristine, through key and fill lighting, Rick’s rugged appearance accentuated by lighting).

Conclusion

Ultimately, both films are apt representations of the production contexts that both films were produced under respectively. Casablanca epitomises the Classical Hollywood style typical of the films of the Golden Age, whereas Bonnie and Clyde paved the way for the New Hollywood era – embracing graphic violence and sexual content that defied the typicalities of the more traditional, conservative films of the previous age.

Essay – Version 1

Casablanca (Michael Curtiz, 1942) and Bonnie and Clyde (Arthur Penn, 1967) are two films that are shining exemplars of two starkly contrasting production contexts within Hollywood. Casablanca was a film produced by Warner Brothers under the Hollywood Studio System that operated under the practice of vertical integration during the Golden Age. The film epitomises the rigid and traditional Classical Hollywood style of the era. Conversely, Bonnie and Clyde sought to defy the preconceptions of the Golden Age after the dissolution of the studio system. By taking influence from the French New Wave, employing modern technology and unorthodox filmmaking techniques, this appealed to the newly diverse cinematic landscape enjoyed by audiences throughout this period. The film foregrounds a gritty portrayal of two real life criminals – one which does not shy away from graphic violence and sexual undertones – birthing the New Hollywood era of filmmaking.

Casablanca’s conception originated with Warner Bros. buying the rights to a unproduced stage play, Everybody Comes to Rick’s, for $20,000. Afterwards, the studio quickly began work on building bespoke sets for the film, creating the illusion of exoticism by foregrounding the lavish production values that the studio poured into the construction. A clear example of this can be seen in the opening sequence of the film in which an expansively lavish set of Casablanca populated with countless extras takes place. This is revealed to the viewer through camerawork typical of the Classical Hollywood style: a crane shot that tilts down to reveal the opulent set. Conversely, Bonnie and Clyde strove to purport the highest level of authenticity and thus, chose to film the vast majority of the film on location with the implementation of natural lighting. The opening sequence of the film introduces us to Clyde through a wide shot filmed through a mosquito net, creating an atmosphere that feels much more tangible than Casablanca’s constructed reality. Akin to the French New Wave, the use of natural lighting serves to add an extra layer of authenticity to the film.

Casablanca is a product of the Golden Age of Hollywood that exemplifies the concept of film star ‘stables’ that were owned by the studios. Due to ‘unbreakable contracts’ that exclusively contracted actors to specific studios, Warner Bros. endeavoured to make apt use of their stars. With this in mind, the studio chose to cast Humphrey Bogart as Rick, a star who was often typecast as the ‘rugged individual’ archetype in films such as The Maltese Falcon (John Huston, 1941). Through this, Rick’s character was customised to suit Bogart’s acting capabilities, introducing us to him in the ‘Leaving Rick’s’ sequence by filming Bogart from a centrally framed low-angle shot whilst being cast in shadow to accentuate his masculinity. In addition to this, during the Paris flashback sequence, Rick dons a trench coat and hat during the train station scene. This subtly pays homage to Humphrey Bogart’s classic detective roles he was cast as during the Film Noir scene, demonstrating that Warner Bros. attempted to fully capitalise on the ‘stable’ of stars they possessed. The studio also chose Ingrid Bergman to play Ilsa, an internationally renowned actress. Throughout the film, Bergman was highly glamourised through the use of lavish costume design, hair, makeup, alongside the use of key lighting and soft focus to accentuate her beauty. This is highly typical of the Classical Hollywood style that Warner Bros. was renowned for at the time.

In contrast, the titular couple in Bonnie and Clyde are presented in a vastly different light. Instead of conforming to the ‘rugged individual’ protagonist archetype, Clyde is presented in a much more nuanced manner due to his ambiguous sexuality that Warren Beatty (producer and star) campaigned for. Towards the end of the opening sequence of the film, a closeup is displayed of Clyde drinking a bottle of Coke, which both connotes provocatively phallic imagery and is indicative of the Prohibition Era that was in effect during the 1930s. This is furthered later in the film when Clyde appears to be uninterested or perhaps unable to engage in sexual activity with Bonnie. Bonnie is presented in a much more seductive manner in contrast to Ilsa, which is immediately demonstrated to the audience through the first shot of the film – an extreme closeup of her luscious red lips, a symbol of sex. This, alongside the fact that Bonnie appears naked for the first scene of the film, presents her feminine beauty in a more natural and intimate manner than Ilsa’s artificially maintained beauty.

Casablanca’s production was spearheaded by Jack L. Warner – the president of Warner Brothers. A primary agenda of Warner was to feature the ongoing war prominently in the studio’s films, in an attempt to subtly signal America to join the war efforts. This is particularly evident in the final scene of the film, in which Captain Renault chooses to bin the Vichy-branded water bottle, displayed to the viewer through a closeup. This is symbolic of the studio’s negative views towards fascism, perhaps being indicative of the side the country eventually took when America joined the war. Historical context is also important to consider when evaluating the production contexts of Bonnie and Clyde. Although the film was released in 1967, it is set during the 1930s – a time in which the effects of the Great Depression coursed through all of America, particularly the poorer Southern states in which the film takes place. For example, the streets that the couple walk down in the opening sequence are barren, reflective of the Great Depression. The mise-en-scène is also meticulously selected to reflect the time period, such as the FDR presidential campaign posters that are plastered to the walls, serving to immerse the audience in the 1930s. Through this, viewers who had lived through this time period themselves were encouraged to empathise with Bonnie and Clyde’s struggles during this period of poverty and bleakness.

Casablanca was shot entirely in black and white, a typical feature of Warner Brothers’ ‘house style’ at the time. By 1942, colour had been implemented into a number films for around a decade, with studios such as MGM immediately choosing to embrace colour. MGM would go on to produce The Wizard of Oz (Victor Fleming, 1939) a landmark of the cutting-edge Technicolor technology, but colour was considered by many other studios to merely be a ‘gimmick’. During the time of Casablanca’s release, black and white was arguably at its peak, and Warner Bros. believed that choosing to film in black and white – despite the introduction of colour technology – demonstrated artistic nuance, as the iconic ‘noir aesthetic’ had now been refined for over 50 years. Colour was not as ‘sterile’ as black and white was during this time, only being able to display highly saturated colours. Conversely, Bonnie and Clyde was shot in colour, aptly portraying a much grittier and authentic atmosphere in contrast to Casablanca romanticised ‘noir’ aesthetic. The film’s cinematographer, Burnett Guffey, once stated that Arthur Penn wanted the film to be “as real and untheatrical as possible” and the decision to embrace modern Technicolor technology supports this.

During the production of Casablanca, the studio was significantly limited by the Hays Code – a series of regulations that forbade graphic violence and sexual content to be displayed within the film. This is particularly evident in the final scene of the film in which Rick shoots Major Strasser, after which no blood is shown, indicative of the Hays Code restrictions. This conservative presentation of violence soon became a typical convention of the Classical Hollywood style, to which audiences became accustomed during the Golden Age. This greatly contrasts with how violence is presented throughout Bonnie and Clyde. After the dissolution of the studio system that occurred after the result of the Paramount Case, the Hays Code gradually became more lax over time, resulting in Bonnie and Clyde’s presentation of graphic violence as a means to shock audiences who had become accustomed to the conservative presentation of violence typical of Classical Hollywood. At the end of the ‘Botched Heist’ sequence, Clyde shoots a man in the mouth through a car window. This is presented to the viewer through rapid editing, cutting quickly between closeups of the man clinging to the car and reactionary shots of Clyde. The film does not shy away from its presentation of blood, with the film implementing the use of squibs filled with stage blood, which exploded upon impact. These were employed in this scene, alongside many others throughout the film, including the infamous massacre of the titular couple at the end of the film. This graphic display of violence serves to ground the film in reality and forces the audience to confront Bonnie and Clyde’s heinous actions.

Unconventional Auteur: Bonnie & Clyde (Arthur Penn, 1967)

Bonnie and Clyde (Arthur Penn, 1967) could arguably be considered a film influenced by an array of creative auteurs and external inspirations, rather than a product created under the vision of a singular auteur. Including the prolific young directors of the French New Wave movement, the director of the film Arthur Penn, editor Dede Allen, and producer/star Warren Beatty, the final state Bonnie and Clyde exists as such due to the collaborative influence of these distant yet imperatively necessary auteurs.

Although the film was produced by Hollywood studio Warner Brothers, Bonnie and Clyde took a great deal of influence from the French New Wave. This movement is characterised by its particular focus on young, eccentric characters living in a poverty-stricken corner of society. Directors of the French New Wave often used handheld cameras to film in an improvisational and fluid style, in tandem with jump cuts to create a naturalistic and authentic atmosphere within their films.

The film’s director, Arthur Penn was highly influenced by this style of filmmaking, imbuing Bonnie and Clyde with many of these techniques. A clear example of this can be seen in the opening scene of the film, which displays Bonnie getting ready in her room, during which a handheld camera follows her movements spontaneously and fluidly. Bonnie’s entrapped state of mind is aptly conveyed when she is claustrophobically framed within her bed-frame. Penn also chose to shoot the vast majority of the film on location with natural lighting, only contributing to the film’s purported authenticity.

*Bonnie’s entrapped state of mind is illustrate through being claustrophobically fram*ed *through the bed-frame*

Dede Allen, a celebrated ‘auteur editor’ within Hollywood, also had a significant impact upon the film’s production. During her career, she pioneered the use of audio overlaps and jump cuts to create a sense of driving energy, and this can be clearly observed throughout Bonnie and Clyde. Allen also incorporated the technique of temporally disruptive editing throughout the film. In the opening sequence for example, Allen subtly conveys the passage of time through jump cuts whilst maintaining a fluid movement, only adding to the naturalistic tone of the film.

Bonnie and Clyde was produced by Warren Beatty, who also stars as Clyde in the film. Beatty was responsible for assembling most of the cast, alongside selecting Arthur Penn to direct the film, with Beatty choosing to give Penn 10% of the film’s profits. Beatty was arguably the driving force behind the film, overseeing each element of production. Beatty also spearheaded the film’s gritty and realistic portrayal of Bonnie and Clyde’s escapades – he insisted that the film would not shy away from portraying the duo as flawed and multi-faceted individuals. Beatty also decided to create an air of ambiguity concerning Clyde’s sexuality. All of this served to reject the traditional conventions of the Classical Hollywood Style, marking its place in film history as the trailblazing film of the New Hollywood era.

Bonnie & Clyde Close-Up (“Meeting Family” Sequence)

Overview

The “meeting family” sequence of Bonnie and Clyde (Arthur Penn, 1967) begins after Bonnie runs away from the gang into a field, after which Clyde desperately attempts to locate her as he repeatedly calls her name. After he finds Bonnie, she informs Clyde that she wishes to see her mother again. We then cut to a barren wheat field in which the members of the gang, now made up of: Bonnie, Clyde, Buck, Blanche, and C.W. convene with Bonnie’s family, in order to partake in a family gathering. This desolate location is highly symbolic, perhaps foreshadowing Bonnie and Clyde’s inevitable demise. To accentuate this, this sequence is filmed in a manner reminiscent of a dream sequence – providing the setting with an otherworldly quality. The sequence ends with Clyde’s boyish charm failing to convince Bonnie’s mother that everything is okay, as she tells him that “you best keep running, Clyde Barrow”.

Key Elements, Context, and Representation

The opening scene in which the gang attempt to locate Bonnie is a prime exemplar of the how the film takes dual influence from the familiar Classical Hollywood style alongside newer, more experimental influences such as the French New Wave. As for the Classical Hollywood style, the camera is placed on a rig to seamlessly track the car’s movements as the camera moves backwards. The use of a rig creates a highly controlled environment, typical of films such as Casablanca (Michael Curtiz, 1942). The use of a crane shot is also employed to display Clyde chasing Bonnie through the field, a technique also frequently implemented throughout the films of the Golden Age. Techniques that are inspired by the French New Wave includes the use of long lenses to film. This, alongside improvised handheld camera movements and blocking when Clyde chases Bonnie through the wheat field, creates a naturalistic atmosphere. The scene is also shot on location, meaning that the visuals are not particularly clear. However, this only serves to add an extra layer of realism to the scene.

The weather also appears to break continuity during certain shots – the wheat field appears to be in shadow until it cuts to a closer angle, displaying a much sunnier scene. A piece of wheat also flaps in front of the camera, demonstrating the uncontrollable nature of filming on location. The fact that the couple lie in a dead wheat field is perhaps an example of metaphorical foreshadowing – Bonnie and Clyde’s demise is inevitable.

After Clyde agrees to the family gathering, we then cross-dissolve to a new location, the abandoned industrial wasteland. The sequence opens on a wide shot of this wasteland, displaying the moribund state it exists after the Great Depression. During the scenes that take place in this setting, a grainy filter is applied to the camera that was achieved by filming through a car windscreen. This creates a distant, otherworldly atmosphere to the scene, implying that these brief moments of happiness only prolong the couple’s inexorable downfall. The colouring also appears to be extremely washed out, further emphasising the barren atmosphere that the family are forced to seclude themselves within.

The closeup of Bonnie’s mother is also shot on a long lens, creating an entirely shallow depth of field behind her. This serves to separate her face from the background, drawing the viewer’s attention towards her withered appearance. Each character is also dressed in solemn, formal clothing – reminiscent of funeral attire, contributing the overall ‘death metaphor’ present throughout the sequence. The sound throughout the sequence also appears to be much more distant than normal, merely consisting of muffled diegetic ambience and dialogue. The use of frame rate drops are also employed, jarring the viewer and creating a disjointed atmosphere.

As Bonnie and Clyde innocently play with Bonnie’s nephew in the pit, Buck and Blanche awkwardly stand to the side in a subdued manner. From this, the viewer is able to surmise that Buck and Blanche have realised the inevitably of Bonnie and Clyde’s demise and are empathising with the couple’s blissful naïveté. Clyde’s charismatic charm doesn’t appear to convince Bonnie’s mother of his suitability as a partner for her daughter. During this, Bonnie is portrayed in a much less playful and flirtatious light – she takes on a solemn demeanour, displaying concern for her future with Clyde. As Bonnie’s mother delivers her truthful opinion of Clyde to his face, she is once again isolated in a closeup – emphasising that no one possesses any hope for their future.

As the characters slowly begin to leave the frame, the final conversations revert back to utilising a typical shot/reverse shot sequence. This reinforces the idea that the jovial family gathering has now concluded, and the gritty reality of the poverty-struck South has once again become apparent. The sequence ends with a wide shot of the abandoned wasteland, leaving the Barrow Gang isolated in the frame – informing us that the family does not intend to aid their efforts, and the gang is truly alone.

Bonnie & Clyde Close-Up (“Botched Heist” Sequence)

Overview

The “botched heist” sequence of Bonnie and Clyde (Arthur Penn, 1967) proves that not everything the gang attempts will go to plan, serving to highlight the gritty realism presented over the course of the film. The scene displays the titular couple attempting to rob a town bank, which seems to be going to plan until their attempted escape. The gang’s newly appointed getaway driver, C.W. Moss, inadvertently hinders the heist by parking the car away from the bank. Moss then struggles to pull away, accidentally hitting two cars. As the gang finally manages to drive away, a man jumps onto the car – prompting Clyde to shoot him in the face.

Key Elements, Context, and Representation

The sequence opens with an extreme long shot taken from under the awning of an establishment, serving to immerse the viewer in the evocative rural Southern town. This shot is deliberately framed as to draw the viewer’s attention towards the crossroads at the centre of the town, naturally guiding our focus towards the bank. The bank itself is highly decrepit and derelict, perhaps being indicative of the negative effects suffered by these small establishments after the Great Depression. Each extra that appears in the scene are real townsfolk, preserving to the authenticity of the scene.

As we cut to the bank itself, we are presented with an appropriately desolate setting – the use of a wooden brown further establishes the bank as part of the rural Southern community. Clyde wears a navy blue suit, juxtaposing Bonnie’s crème-coloured clothes – perhaps symbolising Clyde’s history with robbery and crime. Bonnie also interestingly dons a beret, an evocative piece of French fashion that subtly paying homage to the French New Wave, a movement that highly influenced the film’s production. The couple are also framed within a frame as they enter the bank, drawing further audience focus to them.

The dialogue and movements within the bank appear to be largely improvised, indicative of the film’s attempts to strive for reality. As Bonnie and Clyde holds up the bank, the soundscape is fully diegetic, which creates a naturalistic atmosphere. This scene is edited in parallel with C.W. Moss outside, attempting to park the car away from the bank. These shots are edited in a much more conventional sequence, being reminiscent of the Classical Hollywood style.

During the getaway itself, the diegetic sound of the alarm bell promptly enters the mix which immediately heightens the tension. The pace of editing also quickens, rapidly cutting between closeups of Clyde pointing his gun at the window with closeups of the man latched onto the car behind the window. As Clyde shoots the man in the mouth, we cut to a centrally-framed closeup in which a shockingly graphic amount of blood is displayed. This gratuitous display of violence breached the boundaries of what was allowed within cinema for the time, through which Bonnie and Clyde later garnered a notorious reputation for. After witnessing the couple’s distraught reactions, we cut to another closeup that showcases the man’s face sliding down the window. This repulsive display of violence instils a sense of uneasy discomfort within the viewer – the audience is forced to confront and later contemplate Clyde’s violent actions.

This sequence interestingly mirrors the earlier scene of Clyde robbing the grocery store in the opening sequence, yet the absence of a jaunty Bluegrass score strips the sequence of its prior light-hearted mood. The viewer is now fully confronted with the gritty reality of Bonnie and Clyde’s actions, enhancing the film’s endeavour to strive for naturalistic authenticity.

Arthur Penn: Copycat Auteur

The lasting influence of the French New Wave ultimately resulted in the films of the New Hollywood era taking on a particular style that greatly contrasted the Classical Hollywood style present throughout the Golden Age. Instead of a studio institution collaborating as a collective auteur, this new era of filmmaking was instead characterised by a small group of young creative minds collaborating within the new landscape of Hollywood. It is important to observe each of the creative forces that contributed towards Bonnie and Clyde (Arthur Penn, 1967) to evaluate whom is responsible for how the final film looks and feels.

The two screenwriters that worked on Bonnie and Clyde were David Newman and Robert Benton. After meeting at Esquire magazine, this screenwriting duo often collaborated together from the late 1960s through to the early 1980s. Bonnie and Clyde was the duo’s first screenwriting effort, containing highly authentic and naturalistic dialogue – reminiscent of the French New Wave. This is representative of the young aspiring filmmakers, who were able to share their creative voices to the world within the landscape of New Hollywood.

The film’s director was Arthur Penn, known for directing critically acclaimed American films throughout the 1960s, such as The Chase (1966), Alice’s Restaurant (1969), and most notably – Bonnie and Clyde (1967). Collaborating alongside producer and actor Warren Beatty, Penn was strongly influenced by the French New Wave when creating Bonnie and Clyde, with the film itself only accentuating the creative influence that this new generation of filmmakers went on to be inspired by. Because of this, Arthur Penn cannot be considered an auteur, as he was not the sole creative mind behind the production of the film.

Bonnie and Clyde was edited by Dede Allen, a celebrated ‘auteur editor’ within Hollywood. She had an extended collaboration with Arthur Penn lasting nine years and during this time, she pioneered the use of auditory overlaps and emotional jump cuts. This stylistic manner of editing was heavily inspired by the French New Wave, meaning that Dede Allen played a crucial role in Bonnie and Clyde’s production.

Bonnie and Clyde was produced by Warren Beatty, who also stars as Clyde in the film. Beatty was responsible for assembling the aforementioned screenwriters – Benton and Newman – alongside most of the cast. Even Arthur Penn was specifically selected by Beatty to direct the film, with Beatty choosing to give Penn 10% of the film’s profits. Beatty was arguably the driving force behind the film, overseeing each element of production.

Escaping The Eight: The French New Wave

The French New Wave was a movement that emerged in the 1950s, gaining worldwide attention throughout the 1960s. It was characterised by a rejection of traditional cinematic techniques – embracing experimental methods of filmmaking viewed as a radical departure from the status quo of cinema. This movement’s cultural impact greatly influenced films of the New Hollywood era, inspiring young independent filmmakers to hone and display their artistic vision.

A key element of the French New Wave centred around creating a different world on screen. Pioneering filmmakers, such as Jean-Luc Godard, strove to illustrate an artistic visual language that was much more experimental and ‘looser’ than the Classical Hollywood style. The French New Wave implemented techniques such as non-linear narratives alongside unorthodox camera angles and editing techniques to create a wholly distinctive style of filmmaking.

*Anna Karina, a star of the French New Wave, being filmed by Jean-Luc Godard, a renowned filmmaker of the movement*

This wave of filmmaking also manifested new voices into the cinematic landscape. These up-and-coming filmmakers were often young and had grown up with cinema existing as a prominent art form their entire lives. These new voices brought a fresh perspective to the medium, challenging the pre-conceived notions of what cinema could and should be.

Films of the French New Wave were typically shown in smaller art house theatres, displayed to audiences who sought a departure from the homogenised mainstream cinema of the Hollywood Studio System. This only served to bolster the French New Wave’s notoriety in America, aiding its later influence towards Hollywood studio-produced films, such as Bonnie and Clyde (Arthur Penn, 1967).

The French New Wave also brought about an array of unorthodox filmmaking techniques to the table. Within films such as Breathless (Jean-Luc Godard, 1960), the filmmakers of this wave of cinema employed specific techniques such as filming on location with a handheld camera, natural lighting, and jump cuts to create a more authentic and intimate feel. This, alongside actors often breaking the fourth wall by addressing the audience directly, created a sense of immediacy and spontaneity within the films of the French New Wave.

Waving Goodbye: New Hollywood (1961-1990)

The decline of the Hollywood studio system began in the late 1950s, after the Paramount Antitrust Case of 1948. This prohibited the studios from owning the cinemas in which their films were shown, and this greatly encouraged a rise in competition between the studios. This ultimately led to a much more diverse landscape of cinema in America, as each studio became influenced by the filmmaking techniques of other cultures, such as the French New Wave.

Alongside this, the rise of television of also contributed to the start of the New Hollywood era. During the 1950s, televisions became increasingly available due to their price steadily decreasing as the technology became cheaper to manufacture. As more households acquired a TV, the demand for television content increased and this led to an increase in the production of TV programmes. Television was a new and exciting form of entertainment, creating a new array of genres such as sitcoms and game shows. This ultimately resulted in a decline in popularity of cinemas as a form of entertainment, as families chose to watch films and TV from the comfort of their own home.

During the Golden Age of Hollywood, the studio system dominated the distribution of films that were shown in the cinema. Because of this, there was no opportunity for any independent films to be shown to American audiences. After the studios lost their power, independent filmmakers were now able to distribute their own films. This ultimately led to an emergence of new independent perspectives in the landscape of American cinema.

A significant development within the New Hollywood era was the rise of two systems working in parallel – independently produced films and studio produced films. Independent filmmakers, who had been exposed to films from around the world, often took advantage of cutting-edge technology such as 16mm film to produce their own low-budget productions that often experimented with the typical conventions of the prior American filmmaking landscape. These films usually had to be financed by relying on friends and colleagues of the filmmaker.

Simultaneously, the major film studios were producing more adventurous and nuanced films that challenged the status quo of the Classical Hollywood era. These films grew larger in both scale and budget, and were designed to appeal to a wide audience. This ultimately provided a dual filmmaking platform that broadened the cinematic diet of the American audience – viewers were able to simultaneously experience the unique and personal stories of the young independent filmmakers alongside experiencing the classic blockbuster entertainment that they had come to expect from Hollywood throughout the Golden Age.

Throughout this New Hollywood period, Arthur Penn was a prolific filmmaker who paved the way for the rise of independent cinema and the increasing influence of auteurs throughout the film industry. His film, Bonnie and Clyde (1967), was revolutionary in the way of challenging the conventions of the Hollywood studio system. Inspired by the French New Wave, Arthur Penn, alongside other visionary directors of this era, sought to create a film that did not shy away from a raw and violent portrayal of crime – a stark departure from the sanitised, formulaic style of storytelling that dominated the films of the Golden Age.

Bonnie And Clyde (Arthur Penn, 1967)

Bonnie and Clyde (Arthur Penn, 1967) is a biographical neo-noir crime drama that follows the capers of the infamous crime duo: Bonnie Parker (Faye Dunaway) and Clyde Barrow (Warren Beatty). The film is arguably a landmark of the ‘New Hollywood’ era, epitomising the conventions offered by this new age after the decline of the studio system.

The titular couple meet after Clyde attempts to steal Bonnie’s mother’s car. The two quickly hit it off, and they soon become partners in crime – holding up banks for the thrill of it, despite their attempts being not particularly lucrative. The couple then recruit C.W. Moss, a petrol station attendant, as their getaway driver and later Clyde’s older brother Buck alongside his wife Blanche soon join the gang.

After a heist goes wrong, the gang flee to Missouri before they are located by the police. Two officers are killed in a shootout, and the gang also manages to take a police ranger, Frank Hamer, hostage whom the gang take photos with, before tying him to a boat and setting him free down the river.

A sudden raid catches the gang off guard, killing Buck and injuring Blanche’s eye – Bonnie, Clyde, and C.W. are barely able to escape themselves. The trio seek refuge at C.W.’s father’s house, who believe that the couple have corrupted his son after he sees a new tattoo on his chest that he decided to get after Bonnie’s suggestion. Seeing this, C.W.’s father strikes a deal with Hamer, allowing the police to trap Bonnie and Clyde in exchange for C.W.’s freedom. The film ends with the couple being mercilessly gunned down after being trapped by the police.

The film was directed by Arthur Penn, who set out to break the conventions of the Classical Hollywood style present throughout the Golden Age of Hollywood. Sex and graphic violence is openly depicted throughout the film, which is evident in Clyde’s ambiguous sexuality alongside the brutal violence portrayed in scenes such as the gang’s getaway and the brutal ending. The film was also influenced considerably by French New Wave cinema, which was typically characterised by rapid tonal shifts and experimental editing techniques.

Bonnie and Clyde’s narrative structure is linear, but utilises jarring time jumps to create a film with noticeably unorthodox pacing. I found this to be the main drawback of the film, as although the first third of the film is densely packed with lots of events edited in rapid succession, the film seems to ‘peter out’ afterwards with not much occurring until the very end of the film.

I did enjoy Bonnie and Clyde for the light-hearted crime it had to offer. The film’s implementation of unorthodox filmmaking techniques also kept me intrigued throughout. However, I didn’t feel much emotional attachment towards any of the characters, and the film’s peculiar pacing ultimately resulted in a disjointed narrative experience.

Overall, I would rate Bonnie and Clyde ★★★½.