Posts tagged “Deep South

Bonnie and Clyde (1967) Revisited


Bonnie and Clyde (1967)I was inspired to get out of my collection a film I hadn’t seen in a few years thanks to m friend over at Once Upon a Screen. It was one of the first classics that I devoured when my interest in film was developing, hungry for the more obvious pieces that everyone knows without really having to look to far, readily available to watch you could say. Bonnie and Clyde (1967) is also a turning point in American film, breaking the mold of the decaying studio system to deliver one of the then most violent films. Very much a product of its time, that has stood the test of time, still having the power to shock. It may look dated in places however that’s hardly something to complain about, it’s almost 50 years old, yes 50 years old, a film about two of the most prolific bank-robbers of depression era America, a two-man Jesse James gang that drive around the Deep South, robbing from the rich banks that prevented them having the life they felt they deserved.

I can’t leave the subject of violence that my friend discussed, It wasn’t used for the sake of violence. Like any content it has to be used properly and for a reason, unless the intention is to throw you off-balance, a stylistic choice by the director. Violence has since this film and The Wild Bunch (1969) been attributed to a rise in violence which is nonsense, violence was there before both those films and as we know after the events in France its still happens. No  one is blaming film-violence for the acts of terrorism there. It comes from a root cause, a method to scare and control. Violence of the screen acts only as a mirror image of life, if we don’t see violence behind the security of a projected image we don’t truly understand the power of violence. It’s not glorified by Arthur Penn its simply mirrored and exaggerated in order to show us how bloody and horrific it really is. Just what Peckinpah built upon two years later using slow-motion that became a signature in hos work. If we re forced to look at it we’re engrossed by it, which we should be repulsed by. The images on the news is the real violence which we’re warned about before a piece of broadcast. To deny violence on-screen is to deny that it happens, much the same goes for strong language which is used right is a true reflection. Obviously not all audience should be exposed to this, learning the dangers of the world through the comfort of fairy tales that have dark characters and morals that stay with you, allowing you to understand the world around you as you grow up. Violence and strong language if dealt with sensitively can be powerful weapons in their own right.

Enough of the lecture and onto the film that I hadn’t seen since I was at uni so over 3 years ago now. I think that was long enough to forget most of the plot, even the odd clip didn’t really join up all the dots. Allowing me to go into this film very much with a fresh pair of eyes, maybe that’s the power of the images that they stay with you long enough that they you can feel their presence even as they fade into the long-term-memory. The events had long since faded leaving a sense of visceral violence and youthful energy that excites you, even though it’s about bank robberies. We are slowly lulled into a false sense of security, an uncertain time of un-seen poverty in America via old photographs that depict suffering, poverty and struggle to survive against the odds, the banks and ultimately the system that itself is fighting to stand-up. Before we meet a young couple in the oddest of situation, a crime is about to be committed,  the start of a strange relationship between Clyde Barrow (Warren Beatty) and Bonnie Parker (Faye Dunaway). Sparks fly between them but not in the standard sexual sense, getting their kicks on the open road in the small towns of Deep South.

It’s the youthful energy that sets this film alight, we don’t really care about what they do in the beginning, no bloods shed. They are stealing from the rich, whilst respecting the poor. In the beginning it’s just the too of them, riding the open road, enjoying the spoils in the cars that come and go like the clothes on their back. As if they don’t have a care in the world, they have their whole lives ahead of them. Before meeting their getaway driver C.W. Moss (Michael J. Pollard) who wants to share the spoils, add some excitement to his otherwise boring life. It beats the routine of adult life they are now trapped in. Are they escaping adulthood or just the responsibility of it? They are using their bodies to get what they want, becoming powerful forces in the Southern states, forcing the hand of the already stretched banks. They are unaware of the effect they are having, a danger to society, only interested in the notoriety that is produces, they relish it, they are somebody, the Barrow gang as they come to be known when they join up with older brother Buck (Gene Hackman) and wife Blanche (Estelle Parsons) who is trapped between her upbringing and obligation to her husband.

We have our outsider within the gang acting (Blanche) as the conscience of the film. Scared witless by the acts of violence that escalate, and torn by her love for Buck. Screaming at any given time, out of fear or excitement the line becomes blurred as she comes to accept her position in the gang, neither a prisoner nor a participant in the robberies. We the audience however have the choice to continue watching or turn-away. I stayed. There was too much to not ignore. I noticed that as however modern the content, the violence of the bolemic blood. It’s very classic in terms of production. The interior car scenes are all completed with front and rear projection, this could be due to budget or stylistic choices, to have a classic look, when as early as the mid-fifties car scenes were being taken to the location. We’re reminded we are looking at an artifice not reality, it shows up on-screen, yet we don;t care as we are lost in the energy and conversation of the Barrow gang. We are looking at kids, young people swept up in the moment before reality soon comes back to haunt them.

I could go on about the plot, which we all know, it is also a road trip that charts the life of these two lovers on the run from the law. They start loosing that youthful edge as the presence of the police is not far behind them. Numerous shoot-outs which I had forgotten reference films from the era, loud and messy affairs that are nostalgic for that era of film before the Hays code had been enforced on American film. It’s finally breaking free from those restraints. However as much as they are loosening there lies within a moral, that all these acts of violence will catch-up with you. As we have come to have burned in our minds, as one of modern cinema’s greatest scenes begins to unfold, bringing a close to an era in the South.

The gunning down of Bonnie and Clyde is the only scene I have re-watched away from the film, yet connected to the film is even more powerful, we’ve been taken on a thrill ride through open country, sex, violence and silliness. Reality kicks in, and orders restored in the world, our image of the film’s shattered and reformed. Violence is not a nice thing, as a mentioned earlier, it can kill with ease. The slow-motion image of their death, two dancing corpses being pumped with bullets is hard to swallow yet at the same time parodies the death scene, that moment actors relish, to leave the screen with a dramatic exit. They are also leaving life to something less exciting…death that has no escape. Driving that image home is enough to shock the audience, whilst at the same time wow them with this effect.

Bonnie and Clyde was a turning point in cinema there-after there was no point where you could go back, the fast images of death have been burned into a generation. Wanting more, seeing more on the TV at night with the Vietnam war showing death every night, when it happens everyday on our streets. Cinema had to reflect that not shy away from reality which is far darker than it wanted us to believe. It’s not even just a standard crime thriller as the characters each question their position in society, all equally “rednecks” who are fighting against the stereotype to be something more, it has a voice for the younger generation that was then still fighting to be heard against the establishment.

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Natural Born Killers (1994)


Natural Born Killers (1994)I’ve had this film for sometime and never got around to watching Natural Born Killers (1994) which left me speechless, not because of the visceral violence that played throughout the film about a killer couple who left victims in their wake. It was more the visual style that has left me undecided as to really sum up this film. That above all else is what I will remember this film for. Very much a product of the mid 1990’s and the MTV generation that came before that has influenced this feature-length music video (without the single music track).

Entering a world where the real world was replaced by found and archive footage creating something I see now more in documentaries and advertisements now, as if the style has calmed down and found it’s place. Definitely a product of it’s time that has influenced todays culture. From random pieces of footage from the 1950’s to classic films and everything in between. Popular culture is painting it’s on view of the world on us.

A world that has more or less stayed with us as we follow Mickey and Mallory Knox (Woody Harrelson and Juliette Lewis) who are one and the same person, created by similar destructive childhoods that would eventually lead their paths to cross. What they both is not just a passion for each other but a passion for violence and death. Becoming cathartic to take the life of another away with little thought. It’s not as theatrical as Bronson (2008) or as gratuitous as Quentin Tarantinoinstead its more cartoonish, as if what happens has no effect except the fear it creates in that world. We become numb to this, just waiting for the next kill with anticipation from the anti-heroes.

Moving away from the main plot to focus on the main idea that is explored, the sensationalist nature of the media, taking the form of Wayne Gale (Robert Downey Jr.) with an odd Australian accent, with a drive to get something out for the masses of idiots as he put them to watch. His subject being criminals in a sexed up version of Crimewatch which probably doesn’t even help to solve crimes. Instead as we saw create a media hype around the Knox couple who become heroes for putting the middle finger up to decent society going driving across America leaving bloodshed in their wake. Culminating in a live post Super Bowl interview with the now incarcerated Mickey who uses this opportunity to his advantage. Not so bothered by the glory of the ratings as Gale is, using it as a platform and a chance to escape. Leaving a prison riot behind him and his wife.

The couple aren’t just blind killers, they are rounded characters with flaws which makes them more engaging in that world. Both coming from broken/abusive family backgrounds. You could say they are a product of their childhood (which we all are) however they act on these impulses not resolving the issues that do great harm. They are intelligent people, not just dumb and dangerous, far worse intelligent and dangerous leaning on delusional. It’s Mallory who is the conscience of the couple, who was not a natural killer, instead wrapped up in this world after her family is killed. She has no choice but to adapt and enjoy her new life, always conflicted by a moral compass that can get in the way.

The film itself has one, as misguided as it may look at times, we see a broken America, corrupted by the media for stories and profit, airtime and audience numbers. Everything that is wrong with capitalism to the extreme, as two people break free of the American way of life on the open road to live their own lives. Matched with a visual style that paints a very different world, heavily informed by the media world that has well and truly become one with modern life. Creating a culture of notoriety of dangerous criminals, seen more as heroes rather than people to be feared. I think to really understand the film as one complete piece another watch is in order to bring all the parts together from domestic violence, the intrusion of the media and popular culture, placed in the Deep South, seen a backward and laughable part of the United States, mocked by the rest of the country. Here it’s to be feared and admired, making its own mark.

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