Classic Movie Review: M*A*S*H (1970)

Title: M*A*S*H
Release Date: January 25, 1970
Director: Robert Altman
Production Company: Aspen Productions | Ingo Preminger Productions

My mom was a fan of the tv series M*A*S*H so watching M*A*S*H was a big part of my childhood.  We could watch two old reruns every weeknight, while the new episodes on Monday night were the first show I was allowed to stay up past 9pm to watch. After the last episode of M*A*S*H was broadcast, one of our local stations showed the original movie.  As a 9-year-old, I wasn’t impressed with the movie. I liked Alan Alda and Mike Farrell a lot better than these guys I’d never heard of in the movie. I also found the movie to be very mean-spirited and was bored that so much of it took place at really stupid football game.

Revisiting the movie now as an adult, with an appreciation for Robert Altman as a director and the acting of Donald Sutherland and Elliott Gould, and knowing the context of the Vietnam War the movie was responding to, I figured I might like it better.  I did not.  The movie is angry and mean-spirited and really none of the jokes land for me.  And the whole football plot lasts for about 30 minutes, so it is 1/4th of the movie’s runtime.

In the context of the counterculture/antiwar movement, I guess the anti-authoritarian antics of Hawkeye Pierce (Sutherland), Duke Forrest (Tom Skerritt), and Trapper John McIntyre (Gould) may have been appealing. But they’re not resisting the system so much as doing whatever they want and letting other people clean up their messes (and rushing through surgery in order to play golf is the antithesis of counterculture). M*A*S*H  is described as an anti-war film but I don’t see it actually opposing war.  Instead it falls more into the tradition going back to at least to World War II of veterans creating popular entertainment that lampoons the ineptitude of the military, but not questioning the nation’s militaristic goals (this tradition includes Hiester Richard Hornberger Jr., the politically conservative veteran who authored the book MASH: A Novel About Three Army Doctors under the name Richard Hooker).

But the worst part of the movie is its mistreatment of women. In one of the film’s most harrowing scenes, the Swamp men make a bet regarding whether Major Margaret Houlihan (Sally Kellerman) is a natural blonde.  They set up chairs around the shower tent and watch as the canvas is lifted to expose her naked body. Kellerman’s performance captures rage, terror, and humiliation and I can’t imagine how anyone can watch it and not be on her side.  One could argue that Altman was simply reflecting an accurate depiction of how women were (and continue to be) abused in the military. But everything in the context of the film says that Houlihan is a regular Army stuffed shirt and a “bitch” who deserves her punishment and we should be laughing at her.

The Sexual Revolution that was occuring at the time this film was released brought many positive changes.  But within patriarchal thinking, sexual liberation was interpreted that women should always be sexually available to men. This attitude is prevalent in this movie which served as a progenitor to the raunchy comedies of the 70s and 80s. From Animal House to Caddyshack to Revenge of the Nerds, we see again and again that “sticking it to the Man” is accomplished by humiliating and sexually abusing women.

My feeling is that in 1970, M*A*S*H was one of the first Hollywood films to caustically lampoon the military, mock religious devotion, drop an f-bomb, and talk openly about sex. It must’ve seemed refreshing for audiences at the time to see something they’ve never seen before.  Over 50 years later, we’ve had films that addressed all of these issues in ways that are far less problematic and often in ways that actually make me laugh. M*A*S*H  will be remembered for launching the careers of Altman, Sutherland, and Gould, as well as spawning one of the most beloved tv comedy series of all-time.  But the film itself doesn’t deserve its spot on the AFI 100 or any great movies list.

Rating: **

Classic Movie Review: On the Waterfront (1954)

Title: On the Waterfront
Release Date: July 28, 1954
Director: Elia Kazan
Production Company: Horizon Pictures

Today’s classic film is too fancy for Hoboken and too hot for church. On the Waterfront introduced a new style of naturalistic acting and pioneered a filmmaking style that inspired the New Hollywood movement a generation later.  It’s most famous for an oft-quoted monologue, but I don’t think that scene is quite so great without the context of the film around it.

Marlon Brando stars in this film as Terry Malloy, a former prizefighter who now works as a longshoreman in Hoboken, New Jersey and sometimes serves as “muscle” for the mob-connected union boss, Johnny Friendly (Lee J. Cobb, once again being George C. Scott’s doppelgänger).  Terry’s brother Charley (Rod Steiger) is Friendly’s right-hand man, so Terry gets special treatment in assignments.

Terry begins to be aware that his good life is built on lies and must make difficult decisions after inadvertently playing a part in the murder of a longshoreman who was willing to talk to the police.  The victim’s sister, Edie (Eva Marie Saint) is outraged by everyone willing to be “deaf and dumb” about the crime and inspires the parish priest Father Barry (Karl Malden) to take action. Edie and Terry also grow close which affects his changing heart.

The romance between Edie and Terry is the one thing I don’t really buy about this movie because Terry gives off a million red flags that someone like Edie would see right away.  Other than that this film is a compelling drama with terrific acting by all the leads and interesting staging and camera angles that take advantage of the gritty Hoboken locations.  Not only is this a great movie that realistically depicts the issues of working class people but it also reminds me of how Catholic social justice activists like Dorothy Day and Daniel Berrigan stood with the people like Father Barry in the mid-20th century.

The movie is great drama, but it also metaphorical.  There are all too many real life examples of organizations, even ones that should have positive uses like unions, falling victim to corruption. In more recent years things like the push for Iraq War, the rise of Trump, and the current efforts of the Republican party to suppress voting rights are all built on the ability of people in power to use fear, greed, and indifference to manipulate people into going along with something that they know is wrong. Unfortunately, director Elia Kazan also made this film to justify his testifying before the House Un-American Activities Committee, ruining the lives and careers of  several people who ended up being blacklisted for being labeled “Communists.” Comparing so-called “Communists,” usually people who tried advocating for economic equality and against racial discrimination to the murderous mobsters who were American capitalists at heart is just wrong.

On the Waterfront is a case where the art is greater than the artist, but it remains a spectacular film.

Rating: ****1/2

Classic Movie Review: The French Connection (1971)

Title: The French Connection
Release Date: October 7, 1971
Director: William Friedkin
Production Company: Philip D’Antoni Productions

In this movie we see an expose how Richard Nixon’s war on drugs is used to unleash unholy police violence on Black people. Oh wait! In fact, this film from “liberal” Hollywood wants you to believe the cops are heroes.  15 minutes into this movie I was determined to hate it.  But over time my opinion softened. For one thing, it features two of the most phenomenal actors of the time: Gene Hackman as Jimmy “Popeye” Doyle and Roy Scheider as Buddy “Cloudy” Russo.  There’s something about Gene Hackman as a person that is just likable even when he plays the most vicious characters here and in Unforgiven (I don’t even know what this feeling is based on since I don’t really know anything about the real life Gene Hackman).  In this film, Hackman and Scheider also have an easy camaraderie that makes them feel like real partners.

Friedkin shoots the film in a verite style and most of the film depicts the long hours of Popeye staking out and tailing their suspects, including the French drug dealer kingpin Alain Charnier (Fernando Rey).  I don’t think a modern film would spend a fraction of the time on this details (and I don’t think earlier films did either), but it really builds the tension.  There’s a great sequence when Popeye and Charnier play cat and mouse on the 42nd Street Shuttle.  All of this leads up to Popeye commandeering a car to chase an assassin riding an elevated train above him.  I’m not usually one who cares much for chase scenes but I found this sequence to be ABSOLUTELY EXHILARATING.

The French Connection is a New York City period piece and is shot on location in many recognizable spots in at least three of the five boroughs.  Unlike Taxi Driver or Midnight Cowboy (or even The Out-of-Towners), New York is not depicted as an unredeemable hell-hole but more of the New York I knew and loved as a child.  It’s gritty and dangerous around the edges but you also see a lot of ordinary people of all backgrounds going about their business in the background.  Despite my first impressions that this film was pure cop-aganda, the film ultimately takes a morally ambiguous stance on whether Popeye’s violent obsession with taking down the French Connection is ultimately worth it.  By the end of the film, even Cloudy seems to realize that Popeye is a psycho.

Rating: ***1/2


Classic Movie Review: The Grapes of Wrath (1940)

Title: The Grapes of Wrath
Release Date: January 24, 1940
Director: John Ford
Production Company: 20th Century Fox

I read John Steinbeck’s The Grapes of Wrath in high school and liked it so much that even though we hadn’t finished reading it for class by the end of the school year, I finished the book on my own during the summer. This is the opposite of the more typical situation where I was supposed to finish the book for class but never did (I’m looking at you Charles Dickens’ Hard Times). I also watched the movie around the same time and remember a) stunned by seeing Henry Fonda look so young and b) feeling a little disappointed that so much had changed from the book.

With years removed from reading the book and a greater acceptance of how adaptations work, I found myself totally enthralled by the movie on this viewing. Fonda plays Tom Joad, a volatile young man paroled from prison after serving for homicide, who returns to his family home in Oklahoma to find no one there.  Meeting up with the lapsed preacher Jim Casy (John Carradine), he eventually catches up with his family as they plan to head to California to escape the Dust Bowl and foreclosure by the bank.  The film tracks their journey west and efforts to find work and hold the family together in California.

Director John Ford and Producer Darryl F. Zanuck were known for their conservatism, but nevertheless offer an honest depiction of the capitalist exploitation and abuse of migrant workers at agricultural camp, the use of police to repress labor organizing, and that the camp run by the Federal government is the one that respects the rights and dignity of the workers.  Interestingly enough, I learned that the Weedpatch camp depicted in the film was not only a real place but it is still serving migrant laborers to this day.  While the film depicts the suffering and discrimination endured by “Okies” trying to survive it also includes moments of compassion and ends on an inspiring note.

As I noted, there are major differences between the book in the film. The book intertwines the main narrative of the Joad family with short stories about other peoples’ experiences in the Dust Bowl and migration.  The “truck drivers” scene in the film actually happens to another family in one of the short stories in the book, for example.  The book also includes much more detail about all the Joad family members and their fellow travelers, where as the film focuses in on Tom, Casy, and Ma Joad (Jane Darwell) as the main characters.  Finally, the end of the book depicts a remarkable act of compassion by Rose of Sharon (played by Dorris Bowdon in the film) that nonetheless was something that couldn’t be portrayed on film in 1940.

The Grapes of Wrath is an important book and an important film and they feel more relevant now than it did to me 30 years ago. The crises on the U.S.-Mexico border have lead to untold suffering for migrant workers coming into the country from abroad. Nomadland shows us that there are also American-born migrant workers struggling to make ends meet.  And while Nomadland is criticized for not being as political as The Grapes of Wrath, I don’t think it’s an exaggeration to say that the exploitation and abuse suffered by the laborers in the peach camp is similar to what order pickers endure today in an Amazon distribution center.

Rating: ****1/2

Classic Movie Review: Sullivan’s Travels (1941)

Title: Sullivan’s Travels
Release Date: December 29, 1941
Director: Preston Sturges
Production Company: Paramount Pictures

Back in the 90s, I picked out this movie from my local library based solely on its title (I am that self-absorbed).  I remember being disappointed by the movie which I thought had a good premise, but never really went anywhere with it.  Nevertheless, I welcomed the opportunity to revisit the movie having gained 25 years of wisdom and an appreciation for the work of Preston Sturges.

Well, my opinion of the film has shot up considerably.  John L. Sullivan (Joel McCrea) is a popular movie director who wants to make more serious message films about the struggles of ordinary Americans.  Clueless about the common people live due to his own privilege, he decides to travel incognito. On his travels he makes the acquaintance of an aspiring actress, known only as The Girl (a brilliant, nuanced performance from Veronica Lake) who joins him on his journey.

The filmmaking is subtle but brilliant.  Something I read pointed out that this movie is actually three different styles. It begins as a slapstick comedy.  Then it becomes a silent movie for an extended sequence as Sullivan and The Girl travel among the common people.  Finally it becomes a serious melodrama of the type Sullivan wanted to make at the beginning of the film set in a prison labor camp. The most remarkable scene in the movie occurs when Sullivan and other prisoners are invited to a Black church for a movie night and find joy in a Disney cartoon. For a film made in 1941, it was unusual to have a large number of Black characters and present them in a positive manner without stereotypes.

The message of the movie is that films work best as an escape, which seems a bit self-congratulatory but also makes a good point.  Of course, Sullivan’s Travels manages to be a message movie with a compassionate view of struggles of the poor while still being wildly entertaining.  Next week, I will review that The Grapes of Wrath that also shows that movies can be great without being escapist.

Having recently watched Mank, I think it would make a great double feature with Sullivan’s Travels since both movies satirize Golden Age Hollywood while contrasting it to the real struggles of Americans in the Great Depression.  Yes, the most obvious pairing would be to put Sullivan’s Travels with O Brother, Where Art Thou? and Mank with Citizen Kane, but I AM UNCONVENTIONAL!

Rating: ****

Classic Movie Review: The Philadelphia Story(1940) #AtoZChallenge

#AtoZChallenge 2021 April Blogging from A to Z Challenge letter Q

Welcome to the Panorama of the Mountains Blogging A to Z Challenge. This year I’m watching and reviewing movies from A-to-Z based on my ongoing Classic Movie Project. Most movies will be featured on one or more of three lists: AFI’s 100 Years…100 Movies (USA), The Sight & Sound Greatest Films of All Time (UK), and Cahiers du Cinéma Greatest Films of All Time (France). In some cases, I will be very creative in assigning a Classic Movie to a letter of the alphabet, and in a few cases the movie I watch will not be Classic Movies at all.

There is not a single movie I want to watch that starts with the letter “Q” so I’m just doing another “P” movie.  Of course, Philadelphia is “the Quaker City,” so there is your Q content if you need it.

Title: The Philadelphia Story
Release Date: December 26, 1940
Director: George Cukor
Production Company: Metro-Goldwyn-Mayer

Cary Grant + Katharine Hepburn + James Stewart + lots of alcohol + witty repartee seems a perfect recipe for comedy gold.  The story is that mainline Philadelphia socialite Tracy Lord (Hepburn) has divorced C.K. Dexter Haven (Grant) and now plans to marry the new money George Kittredge (John Howard).  On the eve of the wedding Dexter returns with a reporter, Mike Connor (James Stewart) and a photographer Elizabeth Imbrie (Ruth Hussey) who – somewhat reluctantly – are there to cover the high society wedding.

All of this is mainly an excuse to get some of the best actors of all-time together for the aforementioned drinking and repartee.  But the plot doesn’t quite go where you think it might go either.  Well, the ending is totally predictable, but the winding path it takes to get their is not.  As an added bonus there are many scenes stolen by Virginia Weidler as Tracy’s little sister Dinah.

This is another movie that was a favorite of mine in my younger years that I failed to revisit for the past couple of decades.  I’m going to say that it’s a little bit less good than I remember.  There are a few too many domestic abuse jokes for my taste.  And there are some dead spots, especially early on in the film.  But put that aside, because even if this film was perfect in memory it is still an all-time classic in its less-than-perfect state.

Rating: ****

Classic Movie Review: The Maltese Falcon (1941) #AtoZChallenge

#AtoZChallenge 2021 April Blogging from A to Z Challenge letter M

Welcome to the Panorama of the Mountains Blogging A to Z Challenge. This year I’m watching and reviewing movies from A-to-Z based on my ongoing Classic Movie Project. Most movies will be featured on one or more of three lists: AFI’s 100 Years…100 Movies (USA), The Sight & Sound Greatest Films of All Time (UK), and Cahiers du Cinéma Greatest Films of All Time (France). In some cases, I will be very creative in assigning a Classic Movie to a letter of the alphabet, and in a few cases the movie I watch will not be Classic Movies at all.

Title: The Maltese Falcon
Release Date: October 3, 1941
Director: John Huston
Production Company: Warner Bros.

I watched The Maltese Falcon several years ago – maybe at The Brattle Theatre or maybe I just borrowed the DVD from the library – and I also read the Dashiell Hammett book it is based upon around the same time.  But I didn’t remember much about it, which is a good thing since it meant I could enjoy the mystery of it once again.  I also felt that I thought the movie was good but not great, so I was also surprised to find I was really enjoying it the second time around.

The Maltese Falcon is a detective story featuring Humphrey Bogart as the hard-boiled private eye Sam Spade.  The movie is considered to be one of the examples of the film noir genre, or at least a predecessor to film noir.  Spade is definitely a morally ambiguous character and it is unclear whether he is actually willing to go along with the criminals’ plans or if he is just playing them.  When he does the right thing at the end of the movie, it seems like he does it more out of spite than justice.

The story begins when a woman, Ruth Wonderly or Brigid O’Shaughnessy (Mary Astor) depending on which version of her life she’s telling, hires Spade and his partner Miles Archer (Jerome Cowan).  When Archer is murdered, Spade finds himself drawn into a plot around finding the titular MacGuffin, a medieval figurine covered in valuable gemstones.  Also seeking the Maltese Falcon are conman Joel Cairo (Peter Lorre) and mobster Kasper Gutman (Sydney Greenstreet).

This was John Huston’s first film as a director, and despite the detective story, it is not really an action film.  In fact, I found it has a lot of unexpected parallels to Huston’s final film, The Dead, which is also a book adaptation about people who spend a lot of time talking but rarely speak the truth.  Subtext is key in the battle of wits among Spade, Brigid, Cairo, and Gutman.  The film succeeds because of the high quality acting of its cast.  Surprisingly, this was Greenstreet’s first film, while Lorre was just making his way into American films, and even Bogart was just becoming an A-list celebrity.  They’re firing on all cylinders in this film and the trio would reunite in Casablanca the following year, and Greenstreet and Lorre would make a total of nine movies together!

For whatever reason, this movie failed to make a big impression on my around 17 years ago.  But upon revisiting this movie I feel it has earned a spot among my favorite movies of all time.

Rating: ****1/2

Classic Movie Review: Citizen Kane (1941) #AtoZChallenge

#AtoZChallenge 2021 April Blogging from A to Z Challenge letter K

Welcome to the Panorama of the Mountains Blogging A to Z Challenge. This year I’m watching and reviewing movies from A-to-Z based on my ongoing Classic Movie Project. Most movies will be featured on one or more of three lists: AFI’s 100 Years…100 Movies (USA), The Sight & Sound Greatest Films of All Time (UK), and Cahiers du Cinéma Greatest Films of All Time (France). In some cases, I will be very creative in assigning a Classic Movie to a letter of the alphabet, and in a few cases the movie I watch will not be Classic Movies at all.

Today is a bit of a cheat, as I technically post a third movie starting with the letter C, but you’ll excuse me because this is a great one!  Also, forgive me for publishing this a day late.

Title: Citizen Kane
Release Date: September 5, 1941
Director: Orson Welles
Production Company: Mercury Productions

By the time I was a teenager, I was already aware that Citizen Kane was considered “one of the greatest films of all time!” and watching it for the first time back then did not elicit contrarian opinions.  I watched it a few more times, but somehow like a lot of classic films I saw in my younger days, I didn’t watch it again for decades.  So it was great to have an excuse to revisit this movie.  What’s harder is trying to find something to say about Citizen Kane that hasn’t been said before.  It is the number one movie on the AFI’s 100 Years list and the Cahiers du Cinéma list, and number two on the Sight and Sound list.

Perhaps we’ll start with a quick summary. The movie is a pseudo-biopic of Charles Foster Kane (Orson Welles), a wealthy, celebrity newspaper publisher based on real life figures like William Randolph Hearst. The story follows reporter Jerry Thompson (William Alland) as he tries to learn the meaning of the last word Kane uttered before his death, “Rosebud!”  We see several non-chronological scenes from Kane’s life told from the perspectives of people who knew him, none of whom are particularly reliable narrators.  In order we see an obituary newsreel, Thompson reading the personal diary of Kane’s childhood guardian and banker Walter Parks Thatcher (George Coulouris), Kane’s business manager Mr. Bernstein (Everett Sloane), Kane’s lifelong “frenemy” Jedediah Leland (Joseph Cotten), and Kane’s second wife Susan Alexander (Dorothy Comingore), and Kane’s butler Raymond (Paul Stewart).  In the final scene, the mystery of what Rosebud is revealed to the film viewers, but remains unknown to any of the characters.

With that said, here are some stray thoughts I have on Citizen Kane:

  • Apart from Welles and Cotten, none of the main cast were particularly famous or became famous later despite starring in “the greatest movie of all time.”  Alland is essentially the main character of this movie but he doesn’t seem all that well remembered (not least because the movie never shows a close-up of his face).
  • The movie is known for its innovation and technical brilliance but it also is wildly entertaining and relevant to watch today, which sets it apart from some other movies regarded for their innovation such as Battleship Potemkin.
  • Speaking of relevance, it actually really sad that 80 years later we still as a culture continue to idolize and prioritize the opinions of disgustingly wealthy people like Jeff Bezos, Elon Musk, Rupert Murdoch, and Bill Gates. And if Kane’s campaign speech where he promises to imprison his opponent and his claims of fraud when he loses the election don’t remind  you of a certain loathsome person, I don’t know what to say.
  • Watching it this time it really hit be just how cruelly Kane treats Susan and it hits really hard.
  • That being said, the scene where Kane entertains Susan to distract her from her toothache is really sweet and maybe the moment where Kane is depicted with the most humanity.
  • Someday I need to rewatch this film and explore it from an archivist’s perspective.  The scene in Thatcher’s library and Leland saving Kane’s “statement of principles” are particularly interesting depictions of people’s’ relationship with records.
  • If you’re interested in learning more about the aspects of Citizen Kane that make it “great,” I’d recommend reading Roger Ebert’s “A Viewer’s Companion to Citizen Kane.
  • Kane slow-clapping for Susan at the opera house is an oft-used GIF on Twitter, but really this movie could be mined for so many more GIFs.


Rating: *****

Classic Movie Review: The Deer Hunter (1978) #AtoZChallenge

#AtoZChallenge 2021 April Blogging from A to Z Challenge letter D

Welcome to the Panorama of the Mountains Blogging A to Z Challenge. This year I’m watching and reviewing movies from A-to-Z based on my ongoing Classic Movie Project. Most movies will be featured on one or more of three lists: AFI’s 100 Years…100 Movies (USA), The Sight & Sound Greatest Films of All Time (UK), and Cahiers du Cinéma Greatest Films of All Time (France). In some cases, I will be very creative in assigning a Classic Movie to a letter of the alphabet, and in a few cases the movie I watch will not be Classic Movies at all.

TitleThe Deer Hunter
Release Date: December 8, 1978
Director: Michael Cimino
Production Company: EMI

The Deer Hunter is a movie I’ve long been aware of but only had a vague idea that it was about Vietnam, involved Russian Roulette, and starred Christopher Walken.  I had no idea that the lead actor is actually Robert De Niro, who seems to be in every prestige film of this era, or that it is prominently set in a steel mill town of Western Pennsylvania.  I kind of figured that this movie fit in with films like Coming Home, Apocalypse Now, and Platoon, which it kind of does, but it’s also very much its own thing.

The movie centers on a trio of young men who decide to enlist in the army to fight in the war in Vietnam – Mike (De Niro), Nick (Walken), and Steve (John Savage).  The cast also includes John Cazale in the last of his five films before dying of cancer (all of which were nominated for Best Picture) as their friend Stan, and Meryl Streep in one of her earliest films as Linda, a woman that Mike and Nick are both in love with.  The first part of the film focuses on the group of Russian-American friends who work together in the steel mill in a very busy 24-hour period where they work, go out for drinks, attend Steve’s wedding and reception, and then go hunting (except Steve, of course, who goes to his wedding night with his wife).  Like The Godfather, this film uses an extensive wedding reception setting to establish the characters and the culture they live in.

The first segment goes on so long, in fact, I thought maybe that the Vietnam War may be more of a theme of the movie than actually seeing them go to war. But suddenly the film transitions to battle scenes and we enter the second act.  I kind of wish the movie had focused entirely on that 24-hour period before Mike, Nick, and Steve left for Vietnam.  Not only is it the best part of the movie but it would also be considerably shorter than the 3+ hour slog Cimino gave us.  The movie descends into gratuitous violence, impossible leaks of logic, heavy-handed messaging, and a really racist depiction of Vietnamese as cruel and sadistic.  The Russian roulette sequences in this movie are not based on any reality of how the Vietnamese treated POWs nor were there Russian roulette gambling dens in Saigon. For Cimino it’s supposed to be a metaphor but it really strains credulity.

The third act of the movie brings Mike home with considerable PTSD and a need to “save” his friends, Steve from a facility for wounded veterans and Nick from the aforementioned Russian roulette gambling dens in Saigon as the city falls in April 1975. This part could’ve have been an affective look at the way the trauma of war changes people, a la The Best Years of Our Lives, but the heavy-handedness and ludicrousness of the plot twists just makes it a slog.  I honestly wonder if the people who decided that this movie deserved a lot of awards and accolades only based it on the first hour or so.  Because it started off so good and I really thought it was going to be a very different film than it ended up being.

Rating: **

Classic Movie Review: Bonnie and Clyde (1967)

Title: Bonnie and Clyde
Release Date: August 13, 1967
Director: Arthur Penn
Production Company: Warner Bros. Pictures

I watched Bonnie and Clyde in my younger days, probably around 30+ years ago, and HATED it.  It seemed to me to just be glorified violence and gore.  Add to the fact that over the years Faye Dunaway has become one of my least favorite actors, and you can understand that I had little desire to revisit this movie.  Well, I’m happy to report that I enjoyed Bonnie and Clyde much more on this viewing.

I think the main thing I took away from this movie is that it is not a history lesson but a depiction of American myth.  The over-the-top nature of the film actually accents the mythological aspect of the movie where the real story of Bonnie & Clyde is shadowed by newspaper reports of their fictional exploits.  Dunaway’s Texas accent sounds as fake as her blonde wig, but she does bring a lot of nuance to her performance of Bonnie Parker who is perpetually yearning for more. For all the scandal this movie caused for being open about sexuality it seems like a good joke that Warren Beaty’s Clyde Barrow is essentially impotent.

One of my favorite scenes in the movie is the film debut of Gene Wilder as a young man briefly abducted by the Barrow Gang.  Wilder shows a wide-eyed excitement in the experience and adds some levity to the film that deliberately shifts it’s tonality.  It’s easy to see how this movie was in many ways a movie more about 1960s counterculture than it was about 1930s bank robbers.  It also shows a lot of influence of French New Wave films, and François Truffaut was even involved early in production.

I still see Bonnie and Clyde as an incredibly gory film, especially for its time, but I no longer see it as glamorizing violence, but as a commentary on glamorizing violence.  It’s a subtle thing but it makes a difference.  Anyhow, I still don’t think of Bonnie and Clyde as one of the greatest films of all time but I have greater respect for what the film was trying to do and the influence it had on Hollywood cinema.

Rating: ***