Bonnie and Clyde (movie)
Bonnie and Clyde (1967) is a film about Bonnie Parker and Clyde Barrow, who roamed the United States' Southwest robbing banks during the Great Depression. The couple is eventually ambushed and killed by the police, as in real life. The film was directed by Arthur Penn and starred Warren Beatty as Clyde Barrow and Faye Dunaway as Bonnie Parker. The screenplay was written by David Newman and Robert Benton, with Robert Towne doing some uncredited work.
The movie was partly filmed in and around Dallas, Texas, in some cases using actual locations that the real Bonnie and Clyde either robbed or used as hide outs.
On its release, the film was extremely controversial for supposedly glorifying two coldblooded murderers and its unprecedented violence--an honor which has since gone on to Sam Peckinpah's The Wild Bunch, and then to other, even more graphically violent (but largely forgotten) films. Bonnie and Clyde was innovative in its character's gunshots--the squibs commonly used today, where a charge causes a small bag of red liquid to explode out of the clothes, were invented for the movie. The movie took great liberties with the facts about Barrow and Parker. The real life couple were killers who murdered as many as thirteen people. The movie also was questionable in its portrayal of Texas Ranger Frank Hamer (Denver Pyle).
Estelle Parsons won an Academy Award for Best Supporting Actress for her role in the film, and Burnett Guffey won an Academy Award for Best Cinematography for his work in the film. The film is #27 on the American Film Institute's 100 Years, 100 Movies, #13 on its list of 100 American thrillers, and #65 on its list of 100 American romances. The film has been selected for preservation in the United States National Film Registry.
The background music "Foggy Mountain Breakdown" by Flatt and Scruggs has been made famous by this movie.
This page about Bonnie and Clyde includes information from a Wikipedia article.
Additional articles about Bonnie and Clyde
News stories about Bonnie and Clyde
External links for Bonnie and Clyde
Videos for Bonnie and Clyde
Wikis about Bonnie and Clyde
Discussion Groups about Bonnie and Clyde
Blogs about Bonnie and Clyde
Images of Bonnie and Clyde
The background music "Foggy Mountain Breakdown"
by Flatt and Scruggs has been made famous by this movie. His stated reason was that the act was an attempt to impress Jodie Foster by mimicking Travis' mohawked appearance at the Palantine rally.
Estelle Parsons won an Academy Award for Best Supporting Actress for her role in the film, and Burnett Guffey won an Academy Award for Best Cinematography for his work in the film. Award wins:. The movie also was questionable in its portrayal of Texas Ranger Frank Hamer (Denver Pyle). we thought it was a good idea.". The real life couple were killers who murdered as many as thirteen people. and you knew that was a special situation, a commando kind of situation, and people gave them wide berths .. The movie took great liberties with the facts about Barrow and Parker. They cut their hair in a certain way; looked like a mohawk ..
Bonnie and Clyde was innovative in its character's gunshots--the squibs commonly used today, where a charge causes a small bag of red liquid to explode out of the clothes, were invented for the movie. Scorsese later noted that Magnotta had "talked about certain types of soldiers going into the jungle. On its release, the film was extremely controversial for supposedly glorifying two coldblooded murderers and its unprecedented violence--an honor which has since gone on to Sam Peckinpah's The Wild Bunch, and then to other, even more graphically violent (but largely forgotten) films. This detail was suggested by actor Victor Magnotta, a friend of Scorsese's who had a small role as a Secret Service agent, and who had served in Vietnam. The movie was partly filmed in and around Dallas, Texas, in some cases using actual locations that the real Bonnie and Clyde either robbed or used as hide outs. For example, when Bickle determines to assassinate Senator Palantine, he cuts his hair into a mohawk. The screenplay was written by David Newman and Robert Benton, with Robert Towne doing some uncredited work. Some critics have argued Taxi Driver is perhaps the first film to address--however indirectly--the impact of the Vietnam War on soldiers who fought in the conflict.
The film was directed by Arthur Penn and starred Warren Beatty as Clyde Barrow and Faye Dunaway as Bonnie Parker.  (http://www.suntimes.com/ebert/greatmovies/taxi.html). The couple is eventually ambushed and killed by the police, as in real life. Roger Ebert selected Taxi Driver as a Great Film, alongside Casablanca, Lawrence of Arabia and others. Bonnie and Clyde (1967) is a film about Bonnie Parker and Clyde Barrow, who roamed the United States' Southwest robbing banks during the Great Depression. The soundtrack was the last he completed before his death. Review of the Movie by Roger Ebert (http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19670925/REVIEWS/709250301/1023). Bernard Herrmann, who is noted for his work with Alfred Hitchcock (especially Psycho), scored Taxi Driver.
Bonnie and Clyde (http://www.imdb.com/title/tt0061418/) at the Internet Movie Database. It is consistently in the top 50 on the Internet Movie Database's list of top 250 films, and has been selected for preservation in the United States National Film Registry. Taxi Driver was a financial success and it was #47 on the American Film Institute's list of 100 Years, 100 Movies, and #22 on its 100 Years, 100 Thrills. We end not on carnage but on redemption, which is the goal of so many of Scorsese's characters.". The end sequence plays like music, not drama: It completes the story on an emotional, not a literal, level.
I am not sure there can be an answer to these questions. Is this a fantasy scene? Did Travis survive the shoot-out? Are we experiencing his dying thoughts? Can the sequence be accepted as literally true? .. Roger Ebert has written of the film's ending, "There has been much discussion about the ending, in which we see newspaper clippings about Travis' 'heroism', and then Betsy gets into his cab and seems to give him admiration instead of her earlier disgust. Director Scorsese comments on Travis' final moments in the DVD, mentioning that this "mirror glance" could be a symbol that Travis might fall into depression and violent rage once again in the future, although it is still open to interpretation.
As Betsy departs his cab, Travis drives away, and a curious ring sounds as Travis quickly adjusts his mirror, before the credit roll on the background of the bright and distorted city lights seen from the cab's perspective. Some have seen this epilogue as Bickle's dying fantasy, while others see it as a real resolution of Bickle's acts. A brief epilogue of sorts ends the film and shows Shepherd's character climbing into Bickle's cab, and commenting on his "saving" Iris and Bickle's own media fame, but Travis seems to be mentally recovered now and denies himself as being any sort of hero. Rather than being upset or traumatized, Foster said, she was fascinated and entertained by the behind-the-scenes preparation that went into the scene.
However, in the documentary Making "Taxi Driver" (included in the DVD release of the movie), Foster stated that she was present during the setup and staging of the special effects used during the scene; the entire process was explained and demonstrated for her, step by step. Some critics expressed concern over young Jodie Foster's presence during the climactic shoot-out scene. In later interviews, Scorsese commented that he was actually pleased by the color change and he considered it an improvement over the originally filmed scene, which has been lost. To attain an "R" rating, Scorsese desaturated the colors, making the brightly-colored blood less prominent.
The climactic shoot-out was, for its era, intensely graphic, and retains much of its visceral impact today. A slow-motion overhead tracking shot moves out of the room and examines his path of violence, moving over blood stains, the 3 dead bodies, down the steps and outside to the crowd of police and curiosity seekers swarming outside. In a disturbing symbol of insanity, or so it seems, he raises a bloody index finger to his head and pretends to be shooting himself. He is wounded neck and arm in the fight, and he seems to be dying as he sits down on the couch before policemen enter the room.
When he is spotted by secret servicemen and flees, he desperately drives uptown and shoots Iris' pimp Sport (Keitel), before storming into the brothel and brutally killing the bouncer, the wounded Sport who returns, and Iris' mafioso customer. Bickle then plans to assassinate the Senator at a public rally, perhaps seeing him as a buffer between him and Betsy. Other disturbing scenes include Travis' purchasing of various weaponry (a hunting knife and four handguns) from an energetic "salesman" named Easy Andy, a disturbed businessman in the back of Travis' cab (played by the director himself in a last-minute substitution) explaining to Travis how he wishes to kill his wife, who is playing around with a paramour, and a convenience store scene where Travis entices a thief at the counter to turn around and face him before Travis calmly shoots him through the cheek. She agrees to a date with Bickle when he flirts with her and sympathizes with her own apparent loneliness, but he takes her to a pornographic film, and she leaves him, disgusted.
Bickle is also obsessed with Betsy (Shepherd), an aide for a New York State Senator running for the presidency and promising dramatic social change. Bickle is horrified by what he considers the moral decay around him, and when Iris (Foster), a 12½ year-old prostitute, gets in his cab one night to escape her pimp, he becomes obsessed with saving her despite her complete lack of interest in the idea, explaining that she was "stoned" and her pimp, Sport, is actually a kind and caring person. Bickle spends his spare time watching pornography in seedy theaters and driving around aimlessly through the darkest and most repulsive neighborhoods of Manhattan. He suffers from insomnia and consequently takes a job as taxi driver in New York City, and volunteers to work the overnight shift "anytime, anywhere".
Travis Bickle (De Niro), an alienated, sexually repressed young man of 26 from the Midwest, has recently been discharged from the Marines. Taxi Driver is a 1976 American motion picture drama directed by Martin Scorsese. Making "Taxi Driver" (documentary). Someday a real rain will come and wash all this scum off the streets..
Out of this filthy mess, she is alone.
You talkin' to me? You talkin' to me? Then who the hell else are you talkin' to? You talkin' to me? Well I'm the only one here.. There's no escape. I'm God's lonely man.. In bars, in cars, sidewalks, stores, everywhere. Loneliness has followed me my whole life, everywhere.
The Simpsons's bartender, Moe, practices his De Niro impressions on a mirror at night. Pantera use sounds and dialogue from movie in their song "The Badge" from The Crow soundtrack. The Beastie Boys reference Travis Bickle in the song "High Plains Drifter". Millencolin's song "Botanic Mistress", from their album Home from Home, begins with the line "I felt like Travis Bickle, tyrannical, lonely and blue", and later in the song has "And I'll feel like Bickle once more, And maybe I will lose it, Go insane and start a gun war?!".
Rancid's 2003 album Indestructible includes the song "Travis Bickle.". Edward Norton decided to name himself in all the scenes after a classic Robert DeNiro character, but ended up adding other names as to make it less obvious. The Narrator from the 1999 film Fight Club names himself "Travis" at one of his group meetings. The Scientists' song "If It's The Last Thing I Do" (a.k.a. "Travis") starts "Sometimes I feel like Travis Bickle/ Just wanna shoot up all the bad lurking in this town".
The Clash song "Red Angel Dragnet" from their album, Combat Rock, refers to Bickle, and quotes dialogue from the film. WGA Award for Best Drama Written Directly for the Screen – (Paul Schrader). Golden Globe Award for Best Screenplay - Motion Picture – (Paul Schrader). BAFTA Award for Best Editing – (Marcia Lucas, Tom Rolf, Melvin Shapiro).
Grammy Award for Best Original Score Written for a Motion Picture – (Bernard Herrmann). Academy Award for Original Music Score – (Bernard Herrmann). Academy Award for Best Supporting Actress – (Jodie Foster). Golden Globe Award for Best Actor - Motion Picture Drama - (Robert De Niro).
Academy Award for Best Actor – (Robert De Niro). DGA Award for Outstanding Directorial Achievement in Motion Pictures – (Martin Scorsese). BAFTA Award for Direction – (Martin Scorsese). BAFTA Award for Best Picture.
Academy Award for Best Picture. BAFTA Anthony Asquith Award for Film Music – (Bernard Herrmann). BAFTA Award for Best Newcomer – (Jodie Foster). BAFTA Award for Best Actress in a Supporting Role – (Jodie Foster).
New York Film Critics Circle Award for Best Actor – (Robert De Niro). Cannes Film Festival – Palme d'Or. Albert Brooks : Tom. Harvey Keitel : 'Sport' Matthew.
Charles Palantine. Leonard Harris : Sen. Cybill Shepherd : Betsy. Peter Boyle : Wizard.
Jodie Foster : Iris Steensma. Robert De Niro : Travis Bickle.