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- Bonnie And Clyde In Hindi 720p
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- Bonnie Parker, a bored waitress falls in love with an ex-con named Clyde Barrow and together they start a violent crime spree through the country, stealing cars and robbing banks.
- <a href=">Clyde Barrow, recently out of prison, has turned to bank robbery. He meets <a href=">Bonnie Parker and together the two form the nucleus of a gang of bank robbers who terrorize the southwest in the 1920s. Based on the true story of a pair of notorious bank robbers, the film personalizes them while still showing the violence that went along with them.
- This is clearly one of the better pictures to come out of the sixties. Arthur Penn was able to bring an audience to a place of identification with notorious robbers and murderers.<br/><br/>The casting of this film was the greatest feat. I'm not a big Warren Beatty fan but he really scored big in this movie. He did a great job convincing me that he was THE Clyde Barrows and Faye Dunaway was great as "Bonnie". I am a big Gene Hackman fan and I believe his role as supporting actor in this was phenomenal (he usually is).<br/><br/>I took the cinematography for granted until I started to remember that this was 1967 and really ground breaking for that time. The person chasing the getaway car was blasted directly in the face and the scene at the end when they're riddled with bullets also had not been seen before (to my knowledge). Both must have been huge shockers to audiences of that day.<br/><br/>Arthur Penn did a great job in keeping my interest by telling a story and not just relaying events like a newscaster or trying to get creative by cutting a "semi" bio/crime pic into pieces and forcing on the viewers as an ensemble.<br/><br/>I did notice one area that could have been improved in my opinion. There were no real villain characters to fear. This was the same problem with "I Am A Fugitive From a Chain gang". This picture had no real identifiable villain character just a conglomerate of faceless policemen and a 20 second scene with a Texas Ranger. He could have possibly brought more out in the Ranger guy and made us know him and hate him or fear him more so that we could identify more with Bonnie and Clyde.<br/><br/>Aside from this one very minor imperfection, this was a splendid movie.
- Do you ever wonder why some movies you see when you're a kid just stay with you? Some of them are so bad that you just keep it to yourself that you still enjoy watching Chuck Norris Films from the early 80's. Others are the sort of movies that make you feel proud that you appreciated them at such a young age. For me, Bonnie and Clyde is one of those films. I first saw it on television, heavily edited, in 1978, when I was eight years old, and for whatever reason, loved it. For the next few years, I watched it every time it came on, about once or twice a year. It was only as I got older that I truly appreciated what a fantastic work it was and how influential it was. It was the first time that you ever saw a character fire a gun and the target get killed within the same frame. It was Arthur Penn depicting the very balletic (and almost sexual) extreme violence that Peckinpah later made his trademark in "The Wild Bunch". It was the film that finally snuffed out the old men that were ruling the roost in Hollywood from the same offices that they had in the thirties. This was the film that allowed promising young directors to step out of the small, cheap, Roger Corman independents that they had been directing, and seriously break new ground in American Film. In many ways, it was to American Film what "The 400 Blows" was to French film. And if "The 400 Blows" started the French New Wave, then "Bonnie and Clyde" began an American New Wave, of sorts. Without "Bonnie and Clyde", films as diverse as "Easy Rider" to "Taxi Driver" could never have been made. The list of directors who were the American New Wave reads like a Who's Who in American Cinema of the 1970's- Coppola, Lucas, Scorsese, Mike Nichols, Peckinpah, Dennis Hopper, DePalma, Spielburg. Directors who made films that shaped a generation of film making. And it was all because a gutsy actor named Warren Beatty saw his career going down the tubes, his talent being wasted playing pretty-boy eye candy in very bad films, decided to take control of his career in a way that very few actors had ever done before. It was because of a director named Arthur Penn that insisted on Faye Dunaway for the role of Bonnie, despite producer Beatty's initial reluctance. It was because of a fantastic ensemble cast, the likes of which is rarely seen, that brought a three-dimensionality to their characters which is even more hard to find. And it was ultimately because of the people who saw the film, and loved it, and wrote letters by the thousands to Newsweek magazine, criticizing the critic that panned the film. And it was because the critic did the unthinkable- he saw the movie again, and followed up his review with another that essentially said, "I was wrong- this is a great film." This review caused the film, which Warner Bros. had written off as a failure, to be re-released, ultimately resulting in enthusiastic praise and Oscar Nominations. The ultimate brilliance of the film, however, was to tell a historic story in a way that was very much in keeping with the anti-establishment tone of the times that the movie was made. The best example I know of is this- In the early 90's I worked at a video rental store. One evening, a man in his late 30's rented "Bonnie and Clyde", and I commented on what a great movie it was. He agreed, and said that the first time he saw it was at the age of 16, in it's initial release. He was sitting in the balcony of a large movie theatre, and at the end, when Bonnie and Clyde are gunned down, he claimed that he had been so emotionally involved in the film that he jumped up and screamed at the screen, "YOU F*****G FASCIST PIGS!"
- Landmark gangster film that made a huge commercial and cultural splash.
- Small-time bank robber Clyde Barrow (<a href="/name/nm0000886/">Warren Beatty</a>), recently out of prison, meets bored West Dallas waitress Bonnie Parker (<a href="/name/nm0001159/">Faye Dunaway</a>), and the two of them, along with Clyde's brother Buck (<a href="/name/nm0000432/">Gene Hackman</a>), Buck's wife Blanche (<a href="/name/nm0663820/">Estelle Parsons</a>), and not-so-bright gas station attendant Clarence "CW" Moss (<a href="/name/nm0689488/">Michael J. Pollard</a>), embark on a legendary crime spree, robbing banks all over the Midwest during the Depression era (early 1930s), all the while pursued by Texas Ranger Frank Hamer (<a href="/name/nm0701500/">Denver Pyle</a>). Bonnie and Clyde was based on a screenplay co-written primarily by American screenwriters-directors David Newman and Robert Benton, with script doctor Robert Towne and principal actor Warren Beatty receiving uncredited contributions. Eugene (<a href="/name/nm0000698/">Gene Wilder</a>) had just let it slip that he was an undertaker. Apparently, Bonnie didn't want to be reminded of her own mortality and the fact that an undertaker's office is where she and Clyde were eventually, maybe soon, going to end up, so she had Clyde kick Eugene and his girlfriend Velma (<a href="/name/nm0262748/">Evans Evans</a>) out of the car. Another possibility, as evidenced by the next scene in which Bonnie is emphatic about seeing her mother again, is that she realizes that her mother is getting older and, like her, is headed for the undertaker. It's also been suggested that this scene introduces the notion that Bonnie isn't entirely happy with her life as a bank robber, which explains why she began writing poetry and why she wanted to have a picnic with her family. Yes, but not immediately. This was confirmed by his sister Marie in an A&E interview that originally aired in 1994. She claimed that Buck was shot through the head—in one temple and out the other—during the shootout at the tourist cabins in Platte City, Missouri. He was further wounded in the back during another shootout four days later in a field near Dexter, Iowa. He died of his injuries at Kings Daughters Hospital in Perry, Iowa five days after his capture on 29 July, 1933. After recuperating from their gunshot wounds at the home of C.W. Moss' father Malcolm (<a href="/name/nm0852305/">Dub Taylor</a>) (Note: in the credits, he is referred to as Ivan), Bonnie, Clyde, and CW go into town. When Bonnie and Clyde are ready to drive home, CW is nowhere to be found, having been warned by his father that he made a deal with Hamer. Clyde notices a police car pulling up beside his car and signals to "Gladys Jean" that it's time to go home. They drive off together, while CW watches, believing that they have outwitted the police yet again. As Clyde and Bonnie head back to Malcolm's house, they encounter him on the side of the road changing the tire on his truck. They stop to help, but Malcolm suddenly dives under his truck and Clyde notices a bunch of birds scattering from a tree. Clyde realizes it's an ambush, but it's too late. He and Bonnie are mercilessly machine-gunned down. In the final scene, Hamer and his deputies come out from the bushes and view their handiwork. They were shot down on 23 May, 1934. Bonnie is buried at the new Crown Hill Cemetery in Dallas. Clyde is buried in Western Heights Cemetery in Dallas. a5c7b9f00b
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