Episode 11

Bonnie and Clyde (1967) Love on the Run - Part One

Exploring 'Bonnie and Clyde' (1967) - LOVE ON THE RUN Part 1

In this episode, we dive deep into the classic film 'Bonnie and Clyde' (1967) and tease 'True Romance' (1993) - Love on the Run Part 2.

This two-part series kicks off with a thorough analysis of 'Bonnie and Clyde,' directed by Arthur Penn. Chris explores the film's critical scenes, character arcs, and thematic elements while sipping on a Miller Genuine Draft, setting the tone for a lively discussion. Tune in to hear a breakdown of the plot structure, notable moments, and behind-the-scenes trivia, along with a comparison to other crime films. Stay tuned for part two, where 'True Romance' takes center stage!

00:00 Introduction and Announcements

00:26 Setting the Scene: Miller Genuine Draft and Movie Pairing

02:10 Behind the Scenes: Podcast Delays and Personal Updates

03:56 Happy Hour Begins: Tequila and True Romance

07:14 Bonnie and Clyde: Movie Overview and Initial Impressions

09:31 Bonnie and Clyde: Historical Context and Critical Reception

14:49 Breaking Down Bonnie and Clyde: Plot and Themes

18:12 Analyzing the Structure: Beats and Arcs

28:42 Buck and Blanche: A New Dynamic

29:10 Blanche's Role in the Story

29:40 Fun and Games Turn Deadly

30:26 Media Frenzy and Rising Fame

31:01 Gene Wilder's Comical Debut

32:10 Bonnie's Reality Check

33:03 Clyde's Sexuality: A Debate

37:52 The Family Reunion

38:36 The Final Shootout

46:26 The End of the Crime Spree

48:46 Legacy and Trivia

Follow Silver Screen Happy Hour on Instagram here:

https://www.instagram.com/silverscreenhappyhour/

Transcript
Chris:

Hey, this is Chris Wiegand and you're listening to

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the Silver Screen Happy Hour.

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This was one of those extra long

happy hours, so we are going to

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split this into two episodes.

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I'm not going to waste

any time up front here.

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I just want to ask you if you enjoy

our show, please share it with others.

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You can find us on Facebook and Instagram

and let us know what movie you'd

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like us to cover on a future episode.

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We're going to start

this recording off right.

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I got a Miller High Life.

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Miller Genuine Draft.

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Jerome: A Miller Genuine Draft, and

how does that tie into today's show?

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Chris: Oh, well, I'm glad you asked.

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What are we doing anyway?

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There's several I think there's

several scenes where a Miller

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Genuine Draft is being consumed.

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I think one at the beginning

of the movie, I think, uh

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Jerome: Have we told the audience

what movies we're even doing?

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Chris: No!

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They looked at the podcast uh,

headline, they know what's going on.

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So we're going to be talking about

Bonnie and Clyde and True Romance.

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True Romance is one of my favorite movies.

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And so, yeah, there's a, in True Romance,

there's a couple of scenes where you can

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clearly see the bottle of Miller Genuine

raft, which was pretty hot in:

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Was it four?

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Jerome: Yeah, 94.

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No, 93.

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Chris: 93.

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I can't remember.

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Look it up, look it up.

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We're recording now.

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Jerome: It's 93.

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It's 1993.

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Trust me.

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Now, here is a funny thing about

this, and I might mention it

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several times in today's show.

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Yeah.

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But if we really wanted to pair.

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A Tarantino script about criminals

on the run to pair with Bonnie and

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Clyde, it actually isn't True Romance.

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Natural Born Killers would have been a

far better pairing, but I think you and

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I just love True Romance so badly we, we

fought to get it, to get this episode.

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And I just off the top of my head,

instead of like picking Bonnie and Clyde

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and trying to find a movie to pair with

it, we went with True Romance and tried

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to find a movie that paired with that.

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So so yeah.

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Chris: I feel like I need to

apologize, and I'll probably do this

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on the other episodes I'm editing.

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Apologize, first of all, to my brother.

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For It's taken forever

getting, getting things edited.

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We, we've mentioned in the, I

don't even know if anyone, any

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of our listeners have heard.

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Cause we haven't put anything

on social media or anything.

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We kind of fell off the grid.

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But it's because you have, you

had a big building project.

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You still have a big building

project going on, I think.

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But you got your studio done.

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We had a, you know, huge move.

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We moved in April and it's just been

nuts trying to get everything situated

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with contractors and things that

need to be fixed up in this house.

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And so we're finally, now it's, the date

is June, it's in June, it's Father's Day

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the weather's great and the last week, It

was like we were ready to record and, and

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and I had to remind my brother about my

boat policy about weather, boat weather.

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Jerome: I think that

was the last two weeks.

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Wasn't it?

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Chris: Maybe, I don't know.

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But yeah, when, when the weather's

nice, you drop everything

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and you go on the water.

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I mean,

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Jerome: we got to figure out

how to do these recordings

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while you're on your boat.

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Chris: It's not like

that would be awesome.

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It's not like California where every

day is sunshine and, you know, 91 today.

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So, yeah, so yeah, I apologize for

the delays, but it's summer, I mean,

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we've gone through this in the past

where, you know, the summer schedule

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Last year I did a lot better though,

we were able to bank some and then

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continue and get them out on schedule,

but it's just been with the moves.

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Jerome: I think we had more than we can.

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Chris: Yeah, with the moves

though, I mean, I didn't even

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have an office to work in.

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And so, yeah, but things are

starting to come together.

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We both had been dying to do this episode.

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Jerome: Yes.

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Yes.

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Chris: So today it's happy hour.

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Jerome: So today is definitely

happy hour and I am preparing today.

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I'm doing more than just

drinking my usual lightsabers.

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I have a treat today.

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Glass

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ice bucket.

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Can you hear all this?

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Chris: Oh yeah.

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See the ice going in the glass.

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Hang on.

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I should have

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Jerome: had an ice scooper.

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That's enough.

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Alright.

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Next.

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Tequila.

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Chris: Oh.

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Jerome: Now this is pertinent

to kind of both movies.

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Bonnie and Clyde takes place in the south.

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And although it's multi state.

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Chris: Yeah, can we talk

about their accents?

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Jerome: Tequila is a sort of a

southern state kind of drink, I think.

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Chris: Can we talk about their accents?

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Jerome: We'll get to the accents.

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So bad.

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And then bonding true

romance ends in Mexico.

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So, tequila is the drink of the day, but

it's not just your regular old margarita.

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I have here

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Hang on.

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Oh no, what is that?

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It's not fentanyl, don't worry.

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Chris: Is that red dye number five?

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Jerome: It's one red

dot and one violet dot.

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Now I have to tell you

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how many concoctions of these, how much

of these I had to drink over the last few

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weeks to get the color scheme correct.

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Because here's what we're gonna do.

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In honor, mostly, of true romance.

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The purple Cadillac.

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I'm gonna do my best Christopher Walken.

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Clarence's Purple Cadillac.

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Chris: Ha ha ha ha ha.

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Nice.

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Nice.

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Pretty good.

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Jerome: Yeah, it's as

close as I could get, man.

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I drank probably 40 margaritas

over the last three weeks.

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Mixing all different colors and

trying to get the color scheme right.

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This is the best I could get.

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And it's, it's You know what?

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I think I did, I was supposed to

do two drops of violet, I think.

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Well, on the next one, I'll

do two drops of violet.

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Because there is going to be a next one.

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This is my in honor of Clarence's

Purple Cadillac, I'm going

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to call this my Clarencita.

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Chris: Cheers.

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Jerome: Cheers.

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Chris: Alright.

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Jerome: Ahhh.

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Chris: So, yeah, I was gonna mention

in True Romance, there's a scene

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where Floyd, played by Brad Pitt,

asks his roommates to get some beers.

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I think he asks for a

Miller Genuine Draft.

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If

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Jerome: I He, no, he, he just says beer.

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Chris: He just says beer?

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Because he had a Miller Genuine Draft.

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Jerome: Oh, yeah, they're all, yeah,

they're definitely all over the movie.

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Chris: Yeah, so they

got a check from Miller.

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Jerome: There's something else,

there's something else that's all

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over the movie.

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There's something else

that's all over the movie.

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No, Miller is Miller is Miller Coors.

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Oh, yeah.

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So I do have my lightsabers though, and

if I have to break out of the margaritas

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later I do have my my tall cans.

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So there is something else other than

Miller Genuine Draft That's all over

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True Romance, but we'll get to it.

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It's a nice, it's a nice little thing

you see in just about every scene Not

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every scene, but definitely scenes

that take place in people's houses.

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Yeah, but okay So let's

start with Bonnie and Clyde.

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Chris: Mm hmm

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Jerome: So I'm going to give you

the specs first before we talk about

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the first time we ever seen it.

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So it's 1967, directed by Arthur Penn,

written by David Newman and Robert

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Benton with some script consulting

by Robert Towne, which is interesting

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because Towne wasn't huge yet.

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He didn't get huge until he did Chinatown.

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He was still a known writer in Hollywood,

but Chinatown was his, was definitely

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the crown and his The jewel in his crown.

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This is actually based on

a real life true story.

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And the movie's a running time of one

hour, 51 minutes, had a budget of 2.

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5 million which adjusting for

inflation today is still only about

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23 million by today's numbers.

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Not much.

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Which is still, yeah, still would be

considered a very low budget film.

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It was released on August 14th,

:

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7 million, which is 474

million by today's numbers.

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So even if you look at that,

that's still a huge hit.

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Oh yeah.

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In any era.

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It's also interesting to note that

it bombed in its first release.

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Really?

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And then they pulled it.

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And then I can't remember

what happened, but they just

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said, Oh, I guess it was bit.

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So here's what happened.

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They released it in the States and

bombed for like a couple of weeks.

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They pulled it, they released

it in Europe and it killed.

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And then all of a sudden everyone

was like, Hey, what's this

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movie that's going on in Europe?

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We got it.

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Why isn't it being released

here in the States?

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The Warner brothers was like, we did

release it, but okay, we'll release

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it again, and then it took off and

had to be huge in Europe first to

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get the word of buzz going, I guess.

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Chris: That's pretty weird.

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Jerome: It came, it ended up coming in at.

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Fifth at the box office behind

The Graduate, The Jungle Book,

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a reissue of Gone with the Wind.

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Gone with the Wind still

finished third that year.

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And guess who's coming to dinner?

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Chris: So wait a minute.

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So when they released it, Do

you know where they released it?

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I'm wondering if they did this massive

push in the South and they were

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probably like, those accents suck.

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Jerome: Maybe, maybe, maybe.

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I don't remember.

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I'd have to research that, but I

know that they released it, then

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pulled it and then released it again.

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Chris: That's funny.

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Jerome: Um, It did garner 10 Oscar

nominations, including two in the same

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category, both Gene Hackman and Michael J.

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Pollard in the best

supporting actor category.

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Neither one.

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It won only two Oscars best

supporting actress Estelle Parsons.

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And the Cinematography by Burnett Giuffre.

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It stars Warren Beatty, a young

Warren Beatty as Clyde Barrow

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Faye Dunaway as Bonnie Parker.

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Michael J.

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Pollard as CW Moss, gene Hackman as

Buck Barrow, Estelle Parsons as Blanche

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Barrow and Denver Pile as Frank Hamer.

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Also, you probably noticed Gene

Wilder in his first film appearance.

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Chris: That was his first film?

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Jerome: His first film, playing Eugene.

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Yeah.

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Which, we'll get to that too,

but terrible acting on his part.

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I don't know how he ended up

making a huge career, because

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his acting in this is so good.

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But maybe it was done

like that on purpose.

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I don't know.

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There is a lot about the acting.

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Oh my gosh.

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So I did like, I, I did like

the leads and I liked Hackman.

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I always like Hackman.

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Hackman's always good.

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Yeah.

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And I, and I did like the leads.

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They were charismatic.

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Chris: Can we talk about some, I mean,

when Warren Beatty's shooting his guns

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for the first time I saw him shoot

his, He's like shooting from the hip.

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I'm like, come on, man.

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It was so fake.

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It was over the top.

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Jerome: But he was right on, like he

was, he was, and actually I was going

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to save it for later but one of my

favorite lines in the movie is where

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he's shooting all those bottles and

and, and Bonnie goes, wow, you're good.

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He goes, I'm not good.

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I'm the best.

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Like he's offended that

she would even say good.

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Right.

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Okay.

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So when was the first time

you ever saw this movie?

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Chris: when I was getting

ready for this podcast.

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That was the first time, yeah.

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Jerome: And what'd you think?

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Chris: I mean,

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Jerome: Other than the

things you already shit on.

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Chris: Yeah, it's worth watching,

but I totally was just laughing

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at the accents and like, it was

kinda, to me it was almost silly.

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But, but it got, it got real.

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I mean, because they start

killing people, you know?

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And then I remember reading, you

know, finding out how much of it

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was actually true and it's like 5

percent or something is actually true.

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But the, the, some of the critical

stats though, I think they said that

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the number of bodies that's accurate.

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Jerome: Yeah.

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Chris: So a lot of the storyline,

they just kind of made up, you

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know, and how they, well, and

how they went out was real too.

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Like that's, yeah, that part was real too.

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The ambush.

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Yeah.

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So,

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Jerome: I first saw this in college.

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I took a films of the sixties class.

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And it had a lot of great movies.

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In fact, it was, it was the class I took

in college that got me into Bob Dylan.

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Because there was a documentary

on Bob Dylan that I saw there

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and I was just, I just loved it.

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Was all in at that point, started buying a

bunch of Bob Dylan albums and everything.

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But one of the movies they showed

in that class was Bonnie and Clyde.

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It was so, they talked a lot

about how groundbreaking it was.

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Because up until this movie, there

wasn't a lot of violence shown in films.

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Particularly shooting up of bodies.

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You know we look at it today.

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And like you said, it comes off

kind of silly, but think about

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how desensitized we are to movie

violence, everything we've seen.

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But back in 1967, this movie

was a fucking shocker, man.

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Like people were walking out of

that, like the, like today, like

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they, like they, I don't know.

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I can't even think of a movie today that

would shock people as far as violence.

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Yeah, like people, yeah, I

mean, and imagine saw eight

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being nominated for 10 Oscars,

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right?

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So, so this was really

groundbreaking at the time.

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I loved it the first time I saw it.

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I hadn't seen it since college.

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But when we decided to do it for

the podcast, I actually bought

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it on Blu ray to watch it again.

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And I noticed a little bit

more now being so much older, a

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little bit more film educated.

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It's shot so much like how the

French films used to be shot.

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You know, a lot of the closeups, like

particularly in the first five minutes

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of the movie, there's a lot of closeups

of Faye Dunaway's face and her eyes.

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And, you know, that's a lot of how

those French films were made back then.

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And that kind of caught my attention.

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It's like, wow, this is really shot.

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Interestingly there's a lot of sexual

innuendo, particularly in the first, you

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know, five, 10 minutes where she's like,

he's holding his gun between his legs

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and she's like stroking the nozzle of it.

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The way she's.

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Yeah, like the way she's, the, the,

the way she's drinking from the

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Coke bottle, you know with her lips

and her tongue and all that shit.

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Chris: Well, and the, wasn't it the

opening scene when she meets him?

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She's naked upstairs, right?

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Jerome: Yeah.

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Yeah.

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Oh yeah.

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Chris: And you know, the curtains

are kind of covering her, but

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yeah, but, and that had to be racy.

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Jerome: Oh, yes, absolutely.

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Definitely.

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So yeah, second or third viewings.

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Now so many years later it's lost.

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I think it's, it's impact,

but make no mistake for:

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This was one of the

biggest movies of the year.

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Alright, log me.

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Chris: Oh crap, I'm not prepared.

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Pause.

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Bored waitress Bonnie Parker falls

in love with an ex con named Clyde

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Barrow, and together they start a

violent crime spree through the country,

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stealing cars and robbing banks.

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Didn't even mention the murders, but.

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Jerome: Right.

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Well, but this is interesting.

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So this is going to really play a part

with our breakdowns that we normally do.

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For those of you that have heard our

show before, we pull a lot from Blake

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Snyder's Save the Cat sort of beats.

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Those are the, you'll recognize

those names as we use the beat names.

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Often we'll also talk about

stuff from Syd Field and Robert

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McGee, but a lot of times it's.

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It's it's mostly Blake Snyder driven

if you haven't, if you're a beginning

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writer and you haven't read the Save the

Cat trilogy of books by Blake Snyder,

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I highly recommend you do so but that's

where we're pulling from, and it's hard,

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and some movies are so easy to break down

with the beats, some of them are a little

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bit more difficult, and you'd think,

like, it's hard to depict an act one in

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this movie, they meet so early, mm hmm.

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And they're into each other so

early and you're like, well, where

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do we actually jump into act two?

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But it's really, you look no further

than the log line and we'll do

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the same thing with True Romance.

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The log line kind of tells you

when the story gets moving.

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When they say start a violent crime

spree, that's pretty much your act two.

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Yeah.

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So let's get there.

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So a couple of side notes on the beats.

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We talked a lot in the past

about flat arcs where the lead

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characters, the protagonists,

they don't really change much.

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They'd kind of make the same choices

at the end that they would at the

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beginning where they themselves

don't necessarily learn any lesson.

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It just seems like maybe the world

around them has changed a bit or how

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people see them has changed, but they

themselves really hasn't changed much.

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An argument can be made that both

Bonnie and Clyde are flat arcs because

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they pretty much know what they want

right off the bat in the beginning.

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They don't seem to learn any specific

lesson necessarily, at least not

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one that they didn't already know.

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I mean, we can lay out pretty

much a clear theme for Bonnie.

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I think her theme is pretty clear.

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And Clyde gives it to her.

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We'll get to that when

we get the theme stated.

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But I think there's an,

if there's an arc at all.

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It's that the level of notoriety and

infamy that you know, perhaps that

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they were seeking, I don't think that

they anticipated that they would, their

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names would last forever, you know?

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And that's sort of like, we talked a

little bit about it with, in the Hoffa

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episode that we did, you know, right?

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Where um, The tweaks that we would have

made at the end that we made the movie

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Speak more to you know, James R's sort

of legacy and that he's his name would

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live forever I don't know if he ever

really figured that Bonnie and Clyde

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that might be part of their arc at all

if there is an arc which isn't much

384

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of one Like I said, it's pretty flat

But if there's an argument to be made

385

:

at all, it's, it's possibly that they

achieved the level of, of notoriety that

386

:

we're still talking about them today,

you know, and, and not just because a

387

:

movie was made, you know, like I said,

there's a based on real life people.

388

:

All right.

389

:

So opening image.

390

:

We get photos of our criminals in

their youth over the opening credits,

391

:

and this is going to be interesting

contrast to the ending, but it pretty

392

:

much sets up that they're virtual.

393

:

Nobody's right.

394

:

And that's where I think the flip comes

at the closing image, because by the

395

:

time it's over, they're not virtual.

396

:

Nobody's anymore.

397

:

But okay.

398

:

So inciting incident.

399

:

So, you know, me, I've been kind of

Working on this four point push of mine.

400

:

I've been trying to perfect it.

401

:

For those of you that don't know, the four

point push is not part of Blake Snyder's

402

:

beats, but the beats themselves are.

403

:

Very often you'll see where movies go

right to, they jumped to the second

404

:

act without much of a push, right?

405

:

Like there might be one catalyst and

then boom, you're in the second act.

406

:

Rarely does it work.

407

:

The one example I always use

where it does work is Raiders.

408

:

Raiders are the Lost Ark.

409

:

There are no inciting incidents.

410

:

There is no debates.

411

:

There is just, he gets the visit

from the government guys that say

412

:

we need you to go look for the ARC.

413

:

And then boom, we're in Act II

and he's going after the ARC.

414

:

Like, there is, they didn't

have to convince him.

415

:

There was no debate.

416

:

Chris: And I guess it works for that movie

because part of the character development

417

:

of Indiana Jones is that you learn that

he's this person that like, that he's,

418

:

he's passionate to find these artifacts.

419

:

Jerome: Right.

420

:

Yeah, absolutely.

421

:

Chris: So he didn't need much of a

push, but that was part of his, his

422

:

character, you know development.

423

:

So to speak.

424

:

Jerome: Sure.

425

:

But I mean, but that's a rare example

where you can have basically one

426

:

catalyst And that starts the whole thing.

427

:

If there was an inciting incident at

all, you might say, well, Belloc is

428

:

introduced in the first scene, but

that's not really an inciting incident

429

:

that has anything to do with the arc.

430

:

Chris: Right.

431

:

Jerome: You know, so, but, but that's

an example of a movie where it works.

432

:

So many other movies

that doesn't work, right?

433

:

I think what Blake Snyder used

to write in his books is that

434

:

the more the better, right?

435

:

The more things, the more beats that

happen to, to force your, your protagonist

436

:

into act two, the better, because let's

be honest, usually, usually not always,

437

:

but usually your protagonist doesn't

want the upside down world, right?

438

:

They, they, they like, they like

where their life is and they don't

439

:

want to go into the second act

where everything's all upside down.

440

:

And their world is completely changing.

441

:

Usually that's what drives.

442

:

But in movies like this, Bonnie and

Clyde, whether it's a flat arc, he

443

:

already, they already know what they want.

444

:

They can't wait to jump into

act two, but there's still

445

:

some stuff that has to happen.

446

:

So they still do hit some beats.

447

:

So the inciting incident, the

first one of the four point push

448

:

Bonnie, of course, meets Clyde in

the first four minutes of the film.

449

:

She catches him trying to

steal her mother's car.

450

:

And that, the reason that's the

inciting incident is because you don't

451

:

have a story without this, right?

452

:

It's the first hint that Bonnie's

boring world is about to change.

453

:

Catalyst.

454

:

Eight minutes in, the second point of

the four point push, Clyde proves himself

455

:

to Bonnie and robs the grocery store.

456

:

It's also their actual first introductions

as we are set in motion, when they

457

:

actually tell each other their last names.

458

:

They haven't really even, they go for

a walk, and he tells her where he's

459

:

from, and he says that he's a criminal,

and she dares him to touch her.

460

:

to prove it and he does.

461

:

They don't even really

know each other yet.

462

:

But we're not quite in act two yet because

remember, what did the logline say?

463

:

Starting a violent crime

spree through the country.

464

:

That hasn't happened yet.

465

:

Just because he robbed a grocery store,

well that, that ain't really shit, right?

466

:

Um, So we're not in act two yet.

467

:

By the way, and I mentioned this

already, there's a lot of sexual

468

:

undertones that Penn shoots Arthur

Penn shoots in these scenes.

469

:

Gun between his legs, the

coke bottle, all that stuff.

470

:

Okay, point three of the four

point push is the debate.

471

:

Here is where the

structure gets interesting.

472

:

I think this is just my opinion, but I

think we have a very long debate here.

473

:

Because Clyde tries to show

off and desperately trying to

474

:

coerce Bonnie into following him.

475

:

At the 10 minute mark, we learn

that Clyde isn't much of a lover.

476

:

And by the way, this will

serve as a rule of three later.

477

:

We've talked about rule of three.

478

:

By the time people are listening to

this, they will already hopefully have

479

:

listened to raising Fargo where we,

where we break down the rule of three.

480

:

But he.

481

:

Like intrigues her desire to

break free from her boring life.

482

:

Theme stated at the 12 minute

mark Clyde suggests he knows all

483

:

about Bonnie's boring and mundane

life and ends his speech to her

484

:

By saying and this is a quote now when and

how am I ever gonna get away from this?

485

:

And now, you know, end quote.

486

:

So he, you know, he's trying to do

it from her point of view that she's,

487

:

you know, goes home and thinks about

this and he's giving her a chance to

488

:

break free from her her boring life.

489

:

And that seals it for her, right?

490

:

She's ready to see more about

what Clyde can provide, right?

491

:

She's already kind of like

wanting to get out of this this.

492

:

This boring life that

she has so more debate.

493

:

We're still not technically into act

two yet because while bonnie might

494

:

seem like she's in she's all in on this

upside down world She isn't because

495

:

she can always change her mind and

go back home, right the second they

496

:

shoot somebody in the face You're in

now you're in there is no going home.

497

:

Now.

498

:

Now you're wanted at this point.

499

:

She's not wanted She's not an accessory

to anything but a grocery store

500

:

She can always turn, she can

always change her mind and go home.

501

:

Clyde certainly isn't in the upside down

world yet because this is his world.

502

:

He hasn't really changed much yet either.

503

:

He's already been a criminal.

504

:

We know he's a criminal.

505

:

So I wouldn't say that

we're yet in act two.

506

:

Um, So that's why I said

that it's interesting.

507

:

This seems to have a long debate segment.

508

:

The first act

509

:

he has to impress her with

a little target practice.

510

:

That's the one where she says, you

know, he says, I'm not, I'm not good.

511

:

I'm the best.

512

:

There's a nice little save the cat

moment to around about 13 minutes in

513

:

now again, save the cat, which is not

just the name of Blake Snyder's books,

514

:

but it's, it's a, it's a, it's a beat.

515

:

It's an entity.

516

:

What the save the cat actually

means is your protagonist,

517

:

particularly an unlikable one.

518

:

Needs to do something in the beginning

of the film that makes the audience

519

:

want to root for them, right?

520

:

It's broken down more into rooting

resumes all the things that people can

521

:

do to, to root for a character, right?

522

:

There's always examples.

523

:

I love the one that Blake Snyder mentions

in the movie sea of love with Al Pacino.

524

:

That's kind of a long one.

525

:

I want to get into it now, but a

little quick ones, Rocky, right?

526

:

In the beginning of Rocky, we see

Rocky go to a bar and he sees a bum

527

:

on the steps and it's cold outside.

528

:

It's Philadelphia in the wintertime.

529

:

He picks him up and carries him into

the bar and puts him into a bar seat.

530

:

You know what I mean?

531

:

Like, just something that's, you

know, like, this is a good guy.

532

:

You know, he does something good.

533

:

He does something nice.

534

:

So Clyde has one of these.

535

:

Thirteen minutes in, he

meets Otis and Davis.

536

:

And he, he, cause they're firing off the

bullets and it tracks your attention.

537

:

They're at the house that the bank

had taken from Otis and Davis.

538

:

And they're obviously upset about it.

539

:

They let them, they give them their

guns and they let them take a few shots

540

:

at the house and shit the windows out.

541

:

So it's a nice little moment of,

and, and that kind of sets another

542

:

tone too, about this movie really

plays on depression era, right?

543

:

And how.

544

:

They're almost, they're almost

like Robin Hoods in a way.

545

:

It's not, well, they're not

Rob Robin Hoods stole from

546

:

the rich and gave to the poor.

547

:

Bonnie and Clyde's crew

never gave to the poor.

548

:

But, but they were almost heroes to

the poor, you know, because there

549

:

were anti establishment, you know,

anti government, anti everything.

550

:

So they were heroes to all these people

in the depression era that were poor,

551

:

broke, out of jobs, losing their homes.

552

:

So that kind of sets that up.

553

:

So these debate moments for

Bonnie continue as Clyde

554

:

tries to rob a defunct bank.

555

:

The grocery, the grocery stick

up that goes wrong where the

556

:

guy starts to attack Clyde.

557

:

And that's where they meet C.

558

:

W.

559

:

Moss, who is there to fix up their car,

but they invite him to come along on

560

:

their little you know, to create a gang.

561

:

The debunked bank robbery scene

reminded me of a:

562

:

Tough Guys with Kirk Douglas and Burt

Lancaster, where there are these old

563

:

guys that get released from prison

for robbing a bank like 30 years ago.

564

:

And they decide like this,

they decide to kind of get back

565

:

into being criminals again.

566

:

So they rob an armored car.

567

:

And the only thing in it

is a roll of quarters.

568

:

There was no money in it.

569

:

So like when I saw this scene,

I was like, Oh, I wonder if:

570

:

is tough guys got that from this.

571

:

Where he tries to prove himself again

about being a badass criminal and he

572

:

robs a bank and there's no money in it.

573

:

I

574

:

vaguely remember that.

575

:

So yeah, so I was, I was when I saw that,

I wondered if tough guys was playing

576

:

an homage to, to Bonnie and Clyde.

577

:

All right, so now we're going to get

into our break into two, which is the

578

:

fourth uh, point of the four point push.

579

:

26 minutes in when CW helps them

rob a bank, a real bank this time,

580

:

it results in Clyde killing a man.

581

:

The reason why I think this beat is

the break into two because now your

582

:

violent crime spree has started.

583

:

Now they're all on the run.

584

:

Even the ones that didn't pull the

trigger are now accessories to murder.

585

:

Yep.

586

:

So now, none of them can go back.

587

:

Right?

588

:

And this is Clyde's

first time killing a man.

589

:

So it's big for him too.

590

:

Now it's his upside down world as well.

591

:

Yeah.

592

:

Right?

593

:

So now the world for all

of them have flipped.

594

:

They're now officially in act two.

595

:

And immediately after that, you

know, we start the fun and games.

596

:

Clyde realizes the gravity of his new

world as he interrogates a saddened C.

597

:

W.

598

:

in the movie theater.

599

:

He's basically making him cry

for parking the fucking car.

600

:

Why did you park the car?

601

:

In the middle of a bank

robbery and you parked the car.

602

:

Also in the hotel room there's another

failed sexual encounter between

603

:

them, between Bonnie and Clyde.

604

:

This time Clyde initiates it.

605

:

But he ends it quick when he realizes,

you know, it ain't working out.

606

:

And he's not getting he's

not getting stiffy, you know?

607

:

So this is the second

of the rule of three.

608

:

So the first time Bonnie initiated

it and he stopped it because he's,

609

:

you know, he's impotent, basically

second time he initiates it cause

610

:

he's got, he's still on kind of like

a high now that they're on the run and

611

:

they killed somebody and he tries to

initiate this and it doesn't work out.

612

:

So he ends it then too.

613

:

So that's the second time

there'll be a third time later.

614

:

B story, so we always talk

about the B story When does

615

:

the B story generally come in?

616

:

About a half hour in, right?

617

:

Usually about 30 minutes in, like 30

minutes in, we see Hooper and Jaws, right?

618

:

Chris: Sometimes it depends on the

length of the film though, but still,

619

:

Jerome: yeah, sure, sure, sure, sure.

620

:

But in a basic film, 30 minutes

into Legally Blonde, right?

621

:

We meet Jennifer Coolidge's

character, right?

622

:

So usually, so usually about a half hour

in, at the 34 minute mark of this film.

623

:

Clyde's brother Buck arrives

with his new wife Blanche.

624

:

And I may have to say, God, I, I,

I know I realized it when I saw it.

625

:

However many years ago in college,

I definitely felt it this time.

626

:

She might be the most

annoying person in the film.

627

:

And it's sad because it's filled

with such intriguing people.

628

:

She is the worst one.

629

:

She is so fucking annoying.

630

:

And she wins an Oscar for it.

631

:

So apparently it worked.

632

:

It worked apparently.

633

:

However, I feel ironically,

this is my opinion, that Blanche

634

:

serves as the B story because

what does the B story do, right?

635

:

The B story drives the protagonist to

their And while we've already argued

636

:

to the death that these two probably

have flat arcs and there's no spiritual

637

:

goal for them to learn, she does,

she is very important to driving them

638

:

to the closing of this film, right?

639

:

She drives them to their end, so to speak.

640

:

It's really, really important.

641

:

On her.

642

:

Right.

643

:

All right.

644

:

So then we have some more fun and games,

grocery delivery boys, suspiciously

645

:

looks at the house, which causes a

police shootout because of course,

646

:

he's going to go back and tell them

we think it's the Barrow gang, which

647

:

by now they're the Barrow gang and

they're, you know, they're right.

648

:

So now we're fully on an act to And

this one, Buck even tells Blanche

649

:

she screwed up when they're, when

they're making their getaway.

650

:

Also later in this segment, we take

we, we meet Ranger Captain Frank Hamer.

651

:

They take him as sort of pseudo

hostage, just so they can embarrass

652

:

him by taking pictures with him.

653

:

He spits in Bonnie's face.

654

:

And he's another one that's going

to become way more important later.

655

:

Midpoint scene around the 57 minute

mark, which is again pretty standard

656

:

It's pretty much the exactly the

middle of an hour and 51 minute film.

657

:

The Barrow gang robs the bank And

the media hype is splashed across the

658

:

newspapers They rob another bank and their

media hype is all over the newspapers.

659

:

So this is the first I don't want to

say it's the first fame, but it's where

660

:

Bonnie and Clyde are starting to read

about themselves in the paper more.

661

:

Right?

662

:

And, and this is the

fame that they wanted.

663

:

Along with the picture that

they took of the, of Frank

664

:

Hamer, that gets published too.

665

:

They're celebrities.

666

:

So that's about as achieving as

much as a tangible goal as you can

667

:

get halfway through the film, you

know We always say the tangible

668

:

goal you achieve at the midpoint.

669

:

Well fame is what they wanted.

670

:

They got it at the midpoint Bad guys

closing in the second half of the film

671

:

starts happiness in paradise doesn't

last long as Blance wants her share

672

:

And she pisses off Bonnie Needing

a new car, they try to steal, then

673

:

kidnap the car's owners, Eugene and

Velma, Gene Wilder's first appearance.

674

:

And again, you, you got, if you, if you

haven't seen this, you gotta watch it.

675

:

One of the things to look for is how

novice Wilder was at acting at this point.

676

:

Again, unless it was Arthur

Penn's intention and his

677

:

direction to do it that way.

678

:

He just, he like, at one point, I

even think he looks at the camera and

679

:

he's like, Oh, I'm so mad right now.

680

:

Oh, I really want to get my hands on

these guys, like for stealing its car.

681

:

Like it's so bad.

682

:

Like, I don't believe him at all,

683

:

but it's, but it's funny.

684

:

And it's comical.

685

:

So maybe it was done on purpose.

686

:

I don't know.

687

:

Yeah.

688

:

I felt like that through a

689

:

lot of this movie.

690

:

It was fun to watch though, because of

691

:

that, you know their joy ride turns

sour as Bonnie and Eugene reveal Oh.

692

:

It turns sour for Bonnie when Eugene

reveals that he works as an undertaker.

693

:

That's sort of like reality

crashing into this moment.

694

:

She demands the car stop.

695

:

They kick him out.

696

:

It's a shift in tone

and sadness for Bonnie.

697

:

So much so the next

morning, she runs away.

698

:

They do catch up with her.

699

:

They do.

700

:

She tells Clyde that she wants

to see her mother again because

701

:

now she's fearing death, right?

702

:

right

703

:

It's kind of like in barbie the beginning

of barbie when she's like does any of you

704

:

guys think about dying and like the whole

World just stops and they're like what you

705

:

know, because that's like the first hint

that like She's starting to transition

706

:

right same thing here for Bonnie.

707

:

It's been all fun, right?

708

:

It's been a barrel ass other than not

getting as much dick as she's wanted

709

:

From Clyde for obvious reasons on

Clyde's part Other than that, this

710

:

has been a hell of a ride so far.

711

:

Chris: So what do you

mean by obvious reasons?

712

:

so I read some trivia about that because

There's debate on whether or not,

713

:

like what, what, what his problem was.

714

:

Was he gay?

715

:

Was he, was he just impotent?

716

:

And there's, there's, there's, I don't

know if that anyone really knows.

717

:

Jerome: They don't, they don't.

718

:

What I, what I looked up

is they never really knew.

719

:

Arthur Penn and Beatty got together

when they were, when they were creating

720

:

the script, they made the decision

that they didn't want to make him gay.

721

:

They just wanted to, I

mean, again, this is:

722

:

Warren Beatty is, you know, you know

723

:

Chris: I mean, if they knew he was

and they didn't, I got a problem with

724

:

that, but they don't really know.

725

:

Jerome: But even in 1967,

that's, that's the norm.

726

:

You know what I mean?

727

:

doubtful somebody in

Beatty's position would want.

728

:

Yeah, I mean,

729

:

obviously, yeah, it's not a good

look, but for:

730

:

been the only look right there.

731

:

Today I would think you'd be even worse

by today's standards that if you were

732

:

doing a real life movie about Let's

say you were gonna, you know, Sean Penn

733

:

won an Oscar for playing Harvey Milk.

734

:

What if you redid Milk and you

cast a guy playing a straight,

735

:

you know, playing him straight?

736

:

Chris: Yeah, yeah, yeah.

737

:

That's what I mean.

738

:

Jerome: Right, but still people

would be like, what the fuck dude?

739

:

Like, you know, that'd be like redoing

Malcolm X and making the dude white.

740

:

Chris: Damn.

741

:

Jerome: You know, people would

be like, okay, bad casting, bad

742

:

decision, but 1967, but you're right.

743

:

They didn't even really know

there was no, nobody's really

744

:

known the real Clyde Barrow.

745

:

If he was, if he was impotent, if he was

gay, there was only, the only thing they

746

:

knew is that there was sexual tension

between him and Bonnie that they didn't.

747

:

Right.

748

:

Get it on.

749

:

Right, right, right.

750

:

Um, So from what I read Arthur

Penn and, and Beatty decided

751

:

to just make him impotent.

752

:

So that was, that was gonna be their,

their the, the driving force on the,

753

:

the sexual tension between the two, but.

754

:

As I was saying, up until

this point, like, the crime

755

:

spree has been fun for Bonnie.

756

:

Like, this is great to get out

of her boring waitress life.

757

:

Yeah.

758

:

Until she hears that Gene Wilder's

character is an undertaker,

759

:

all of a sudden it's like the

world just crashes down on her.

760

:

Like, we're gonna die someday.

761

:

Yeah.

762

:

Like, you know what I mean?

763

:

Like, this is going to only end in death.

764

:

So she realizes at that moment,

like, I want to see my mom again.

765

:

I want to see my mom one last time.

766

:

At the one hour well,

767

:

Chris: I'm really quick

before you move on.

768

:

Could you imagine a 2025 remake of Bonnie

and Clyde where they do take liberties

769

:

with this sexuality just to Because

that no one knows and they would just

770

:

do the opposite of what was originally

done Make it you know making him

771

:

impotent so I could see I could see it.

772

:

I could see someone doing that

773

:

Jerome: Like making him gay?

774

:

Chris: Yeah, but I mean, but redoing

the movie and making it not as cheesy.

775

:

You know what I mean?

776

:

And just making a little drama about him.

777

:

Jerome: Obviously, this is a movie that's

ripe for a remake, even though we've

778

:

seen lovers on the run movies before.

779

:

If they were going to remake it and

call it Bonnie and Clyde, I think

780

:

it would have some intrigue to it.

781

:

Chris: Yeah, for sure.

782

:

Jerome: But how are you gonna,

like, like I said, it's impact was

783

:

it was groundbreaking as far as

violence we are so we've seen it all

784

:

like what would they possibly do?

785

:

You know what I mean?

786

:

Like Natural Born Killers is pretty

much a Bonnie and Clyde remake.

787

:

Chris: I know they did it

with a Stars Born, right?

788

:

They keep remaking that damn movie.

789

:

Jerome: They do.

790

:

Yeah, that movie gets remade

like every 15 20 years.

791

:

Like, it's ridiculous.

792

:

That movie's been made four times.

793

:

Chris: Bradley Cooper play um, Clyde.

794

:

Jerome: Yeah, well, yeah, but yeah,

like we talked about it on the uh,

795

:

Chris: Lady Gaga could be Bonnie.

796

:

Jerome: The, the war, the

war episode we did, right?

797

:

All Quiet.

798

:

Chris: I'd go see that.

799

:

Jerome: All Quiet on the Western Front is

the, is the war version of A Star Is Born.

800

:

Right, right, right.

801

:

Because that one's also been

remade like four or five times.

802

:

So yeah, we can start doing

that with Bonnie and Clyde.

803

:

Just every 20 years we remake another one.

804

:

It's been more than 20 years though.

805

:

It's definitely due for a remake.

806

:

But and I'm not, I'm not

condoning remakes, by the way.

807

:

I'm not sitting there saying

I want that to happen.

808

:

I'm surprised it hasn't happened yet.

809

:

Chris: Yeah, that's actually kind of

shocking when you think about Hollywood.

810

:

And, yeah, I mean, and

it's such a popular story.

811

:

I mean, people, even if you've

never seen the movie, you've

812

:

heard of Bonnie and Clyde.

813

:

Jerome: Well, like I said, yeah, exactly.

814

:

And, and, you know, We've seen a lot

of lovers on the run movies before

815

:

so maybe Hollywood's just like yeah,

then they're done that You know what?

816

:

I mean, maybe we haven't remade Bonnie

and Clyde, you know per se but we've done

817

:

movies like that enough So, I don't know.

818

:

I don't know

819

:

Chris: if you're an aspiring writer

and producer and Take this one on.

820

:

Jerome: Don't, don't start

off by doing a remake.

821

:

That would be my suggestion.

822

:

Don't listen to my, don't listen

to my brother on that one.

823

:

All right.

824

:

Chris: Maybe all you

want to do is remakes.

825

:

Reimaginings.

826

:

Jerome: At least you won't be unoriginal.

827

:

All right, at the one hour, nine minute

mark, there is a family reunion of sorts

828

:

for the Barrow gang and Bonnie's family.

829

:

Again, mostly they're treated like

celebrities by these people, right?

830

:

The, the, the poor downtrodden you

know, depression era folks although mama

831

:

Parker isn't exactly happy about Clyde

crashing into her daughter's life, right?

832

:

She, she knows what that's going

to mean eventually in the end.

833

:

Chris: You can tell she was not

thrilled with the whole situation.

834

:

Jerome: She's not having it.

835

:

Chris: I felt that as a

parent, I was like, Oh my God.

836

:

And while Bonnie is still depressed

when they get back to the cabin.

837

:

Blanche

838

:

Jerome: and CW get noticed by a cop

in town while they're buying food.

839

:

This of course leads to

yet another shootout.

840

:

And this one is a big one.

841

:

Buck takes a round in the side

of the head and it's going to

842

:

prove to hinder the group forever.

843

:

That leads us to our all is lost.

844

:

The next morning at the one hour,

24 minute mark, Blanche sustained

845

:

wounds to her eyes as well.

846

:

Buck dies and while surrounded

by cops, Blanche about to fulfill

847

:

her role as the B story that will

lead to the protagonist's death.

848

:

And she gets arrested.

849

:

So Blanche is arrested and Buck is dead.

850

:

Bonnie and Clyde, though both wounded and

CW, they they, they find a hole and they

851

:

slip through to get away from the cops.

852

:

Dark Night of the Soul, out of resources

and options, What's Left of the Barrel

853

:

Gang goes to an Old West version of

Skid Row, where all the poor folks are

854

:

just sort of like, you know, crippled

together in this, depression era sort

855

:

of like, like I said, it's like the

equivalent of LA's Skid Row, but, but

856

:

it's not under freeways or on, you

know, it's out in the middle of nowhere.

857

:

And it's everybody just trying

to make, you know ways to

858

:

get by food, clothing water.

859

:

But again, when they arrive,

they're like celebrities.

860

:

So these people that have virtually

nothing are giving them stuff.

861

:

They're giving them food, they're giving

them water, they're giving them soup.

862

:

When CW gets the soup from one of them,

he smiles, you know, and realizes at this

863

:

point, That they, they need more help.

864

:

Right.

865

:

So he makes the decision at the one

hour and 30 minute mark that CW is

866

:

going to take the gang to dad's house.

867

:

And that's Malcolm Moss.

868

:

His father isn't happy about all of

this, but he agrees to look after them.

869

:

So now we're going to break into

three as the A and B stories collide

870

:

as Hamer questions, a wounded

Blanche and get CW's name, that was

871

:

really all he needed to find them.

872

:

Right.

873

:

Because they know Malcolm,

they know the father.

874

:

This is gonna lead to

the five point finale.

875

:

Now, before I get to my five point

finale or Blake Snyder's five point

876

:

finale, I should say, Side note.

877

:

This five point finale is unique in the

way that it almost completely goes away

878

:

from the point of view of Bonnie and

Clyde that we've done the whole time.

879

:

And it almost becomes from

the point of view of the cops.

880

:

It's almost, you could argue

the cops five point finale.

881

:

And it's, it's from

the cops and Malcolm's.

882

:

Chris: And how else would we know

what the end of the story was

883

:

from the cop's point of view?

884

:

Right,

885

:

Jerome: right.

886

:

So I think that's why it does this

shift, because if you, if you stay

887

:

from the point of view of Bonnie

and Clyde, the ending is too abrupt.

888

:

It doesn't make much sense.

889

:

You don't know how or why it

happened and the movie would be over.

890

:

Chris: Right.

891

:

Right.

892

:

Jerome: They, they have to flip it in

the third act to almost let give the

893

:

audience sort of like that superior

position to where they know things

894

:

that Bonnie and Clyde don't know.

895

:

Right.

896

:

Right.

897

:

Yeah.

898

:

So, so we'll do it from

that point of view.

899

:

So, all right, five points.

900

:

Number one, gathering the team.

901

:

At the one hour, 40 minute mark, Malcolm

meets and makes a deal with Hamer.

902

:

Interestingly in their own

gathering the team kind of way,

903

:

Bonnie and Clyde finally, fuck.

904

:

Chris: Gathering the team.

905

:

Jerome: I put that under

gathering the team!

906

:

He finally gets enough of a Woody

down there to to get his first boning.

907

:

It's Bonnie's first boning with Clyde.

908

:

And this is the final move of the

three, of the three point, right?

909

:

Of the, the rule of three.

910

:

This was the third one.

911

:

The third one is a success, whereas

the previous two were failures, so.

912

:

So Clyde gathered his billions of team.

913

:

Chris: He even, what did he say about it?

914

:

He even made mention of the fact that

he got, he did the deed or something.

915

:

Jerome: Yeah,

916

:

he's fucking patting

himself on the back, man.

917

:

He loved it.

918

:

And who doesn't love it the

first time you fuck, right?

919

:

Even if it's a terrible experience,

you're like, I, I fucked!

920

:

I fucked!

921

:

No matter what happens to me the

rest of my life, I'm a fucker!

922

:

I'm a fucker now!

923

:

Right?

924

:

Like Maybe that's just a guy's point

of view, I don't know if women I

925

:

don't know if women, fair enough, I

don't know if women feel that way,

926

:

but let me tell you how dudes feel.

927

:

Again, even if it was a terrible

experience, and you nutted like in 12

928

:

seconds or whatever, you still, you go

home that day, and you're like, I fucked.

929

:

I fucked.

930

:

How many of my friends have fucked?

931

:

I don't know, but I have.

932

:

And that's, that's all

that matters at that point.

933

:

Chris: I don't think I can use any of

that as our intro, our comic intro.

934

:

It's just too, oh my god.

935

:

Jerome: Okay, hang on,

I need a refill here.

936

:

Chris: I'm leaving it in the podcast.

937

:

So, cause this is, this is

100 percent genuine Jerome.

938

:

Jerome: This is gold.

939

:

This is it's gold, Jerry.

940

:

It's gold.

941

:

All right.

942

:

Hang on.

943

:

I need to know if I have enough Jerome.

944

:

Yeah.

945

:

I'm going to pour, this might be the

last of my tequila in this bottle.

946

:

Chris: Oh boy.

947

:

Jerome: Yeah.

948

:

I may have to open a new bottle.

949

:

Chris: Yeah.

950

:

I think you may.

951

:

Jerome: I'll do that later.

952

:

I finished it up here.

953

:

Now I'm going to try, I don't know if I

stepped too far away from the thing there,

954

:

I am going to try and do what I said.

955

:

Look at that.

956

:

It was the last of my sweet

and sour mix to mixer.

957

:

Now I did have another one in

case I was going to keep going.

958

:

You are prepared.

959

:

I am very prepared.

960

:

All right.

961

:

So what did I say?

962

:

The concoction was one drop red.

963

:

Chris: Yeah.

964

:

Do two blue.

965

:

Jerome: I tried to violet, violet.

966

:

Chris: Well, two, try two of those.

967

:

Jerome: Oh shit, I think I did three.

968

:

It sort of sprayed out of me.

969

:

Much like Clyde's Gathering of the Team.

970

:

Oh yeah, yep, this one's

gonna be nice and more purple.

971

:

Chris: More purple.

972

:

Jerome: Yep.

973

:

If I do it just purple, it's too purpley.

974

:

Yeah.

975

:

Clarence's Cadillac in True

Romance has a tint of red to it.

976

:

Chris: It's almost pinkish.

977

:

Yeah, well like, Pinkish purple, yeah.

978

:

Jerome: And that's the funny thing is

that Elvis Elvis This car was a pink

979

:

Cadillac, didn't he write a song about it?

980

:

So it's supposed to be pink,

but his is a little purplish.

981

:

Chris: Let's see it.

982

:

Oh yeah, that's more purple.

983

:

There you go.

984

:

Jerome: That's more.

985

:

There you go.

986

:

There we go.

987

:

Nice.

988

:

So it was two drops.

989

:

Alright.

990

:

So to continue the five point finale,

the next part is execution of the plan.

991

:

CW does as he's told and stays away

oh, I kind of glossed over that part.

992

:

Malcolm, tells his son to stay away from

Bonnie and Clyde when they get into town.

993

:

He's got something planned.

994

:

Execution of the plan.

995

:

CW does as he's told.

996

:

He stays away.

997

:

Bonnie and Clyde flee the town when they

see the cops are putting the pressure on.

998

:

They leave without CW.

999

:

They're just figuring out

he'll make it back on his own.

:

00:45:09,962 --> 00:45:12,802

And they see Malcolm on the side of the

road and they pull over to help him.

:

00:45:13,292 --> 00:45:15,612

After all, they know who

Malcolm is and he'd help them.

:

00:45:15,612 --> 00:45:16,602

So why not help him?

:

00:45:17,557 --> 00:45:19,267

Now they're out in the open and exposed.

:

00:45:19,507 --> 00:45:20,727

High tower surprise.

:

00:45:21,027 --> 00:45:24,277

Innocent bystanders put Malcolm's

plan in jeopardy as they roll up on

:

00:45:24,277 --> 00:45:25,937

the scene when it's about to go down.

:

00:45:26,377 --> 00:45:29,377

That's, again, now we're doing it from

the point of view of Malcolm, right?

:

00:45:29,387 --> 00:45:33,217

His whole plan is working out until

he sees innocent bystanders coming.

:

00:45:33,537 --> 00:45:34,467

And he's like, Shit!

:

00:45:34,717 --> 00:45:35,537

What are we gonna do?

:

00:45:35,787 --> 00:45:36,627

Dig down deep.

:

00:45:36,637 --> 00:45:39,127

Malcolm's forced to make

a quick thinking decision.

:

00:45:39,607 --> 00:45:43,237

And he, as he looks into the bushes,

where the cops are, and he gives

:

00:45:43,237 --> 00:45:44,867

them the it's now or never look.

:

00:45:44,897 --> 00:45:46,367

And then he dives under the car.

:

00:45:47,157 --> 00:45:47,727

For cover.

:

00:45:48,087 --> 00:45:49,617

Five execution of the new plan.

:

00:45:49,617 --> 00:45:51,427

The cops come out and they start firing.

:

00:45:51,427 --> 00:45:54,997

There's a, first of all, a nice little

editing moment where Clyde sees what's

:

00:45:54,997 --> 00:45:58,677

going on and he looks at Bonnie and

she looks at him and he looks at her

:

00:45:58,687 --> 00:46:01,787

and it was, you know, it's a lot of

quick edit cuts, but it's almost this

:

00:46:01,787 --> 00:46:03,567

moment of they know they're dead, right?

:

00:46:04,882 --> 00:46:06,212

And that's the execution of the plan.

:

00:46:06,212 --> 00:46:09,352

The cops come out with their machine guns

and they start firing like crazy and they

:

00:46:09,352 --> 00:46:12,872

gunned them down in a bloody massacre,

which again did happen in real life.

:

00:46:12,882 --> 00:46:14,382

That is really how they got them.

:

00:46:14,522 --> 00:46:17,052

Although I think in real life,

she was eating a sandwich.

:

00:46:17,052 --> 00:46:20,022

I think they said she was eating

a sandwich and they shot her

:

00:46:20,022 --> 00:46:20,992

while she was eating a sandwich.

:

00:46:21,122 --> 00:46:21,742

Wow.

:

00:46:22,252 --> 00:46:23,172

Fucking ruthless.

:

00:46:23,832 --> 00:46:25,562

At least let her finish

the goddamn sandwich.

:

00:46:25,572 --> 00:46:25,912

All right.

:

00:46:26,292 --> 00:46:28,002

So the crime spree is now officially over.

:

00:46:28,812 --> 00:46:29,492

So again, okay.

:

00:46:29,492 --> 00:46:31,632

Notes on the goals, as

we mentioned, right?

:

00:46:31,632 --> 00:46:33,792

There's a strong argument

to be made for the flat arc.

:

00:46:34,262 --> 00:46:35,212

I don't really know.

:

00:46:35,212 --> 00:46:39,252

I mean, unless you disagree, you know,

I've realized on these shows, I always

:

00:46:39,252 --> 00:46:43,312

say things that this is how it is,

but really these were film is very,

:

00:46:43,332 --> 00:46:46,232

you know, a nice conversation piece.

:

00:46:46,342 --> 00:46:48,902

Chris: We have argued on some

character points and stuff.

:

00:46:48,902 --> 00:46:52,202

I remember one with Robin Williams

or something, but I don't know.

:

00:46:52,202 --> 00:46:53,342

I don't see it on this one.

:

00:46:54,712 --> 00:46:55,782

Jerome: Not much of an arc, right?

:

00:46:55,792 --> 00:46:57,552

Like they don't really

learn anything, right?

:

00:46:58,732 --> 00:47:01,622

If they were going to learn anything,

it was within the last few seconds.

:

00:47:01,622 --> 00:47:04,682

And what they learned is

we're fucking dead, right?

:

00:47:04,682 --> 00:47:09,582

Chris: Like it's one of those, I mean,

it wasn't, it's based on a true story.

:

00:47:10,052 --> 00:47:13,292

So when it's based on a

true story, I don't know.

:

00:47:13,342 --> 00:47:16,822

I mean, how would you have written

it to give them an arc where they

:

00:47:16,822 --> 00:47:20,242

learn something, maybe, maybe they

learn something right before the.

:

00:47:21,267 --> 00:47:22,457

Pulled or something.

:

00:47:22,457 --> 00:47:23,027

I don't know.

:

00:47:23,537 --> 00:47:24,817

It's, it's hard to do though.

:

00:47:24,827 --> 00:47:28,857

It's like, you know, I mean, cause they're

just really making up a lot of this story.

:

00:47:29,157 --> 00:47:30,327

So they could have made it.

:

00:47:30,697 --> 00:47:32,637

Why not give it a good character arc.

:

00:47:32,767 --> 00:47:34,957

Jerome: I mean, you could, you

could argue that if there was

:

00:47:34,957 --> 00:47:36,437

the flat arc, it's mostly Clydes.

:

00:47:36,477 --> 00:47:38,057

Bonnie's actually has an arc.

:

00:47:38,057 --> 00:47:39,927

She starts as a bored waitress, right?

:

00:47:40,317 --> 00:47:45,867

And she dreams of, Life and she

gets that at the midpoint, right?

:

00:47:46,427 --> 00:47:50,447

And the lesson she learns is that that

kind of life isn't sustainable, you know,

:

00:47:50,537 --> 00:47:53,947

and, and that maybe if she was still just

a bored housewife, she'd still be alive.

:

00:47:54,947 --> 00:47:56,637

Housewife, bored waitress.

:

00:47:56,637 --> 00:47:58,077

If she was just a bored waitress.

:

00:47:58,257 --> 00:47:59,187

She'd still be alive.

:

00:47:59,387 --> 00:48:01,657

So if anything, that

that's her arc, right?

:

00:48:01,717 --> 00:48:05,947

I mean, she sends pictures and her poems

to the papers you know, and becomes

:

00:48:05,957 --> 00:48:07,827

sort of like a hero to the downtrodden.

:

00:48:08,517 --> 00:48:09,167

Chris: Interesting.

:

00:48:09,177 --> 00:48:13,067

Cause you know, if you, if you made

this today, a modern day version

:

00:48:13,177 --> 00:48:18,177

of Bonnie and Clyde, she'd be

putting it on Instagram, right?

:

00:48:18,197 --> 00:48:18,412

Right.

:

00:48:18,412 --> 00:48:20,047

It'd be a viral sensation.

:

00:48:20,057 --> 00:48:22,417

Jerome: They'd be doing Facebook

live when they robbed banks.

:

00:48:22,687 --> 00:48:22,877

Chris: Right.

:

00:48:22,907 --> 00:48:23,517

No shit.

:

00:48:23,857 --> 00:48:24,720

And think about it.

:

00:48:24,720 --> 00:48:25,317

Think about it.

:

00:48:25,327 --> 00:48:26,687

Cause that kind of shit has happened.

:

00:48:27,042 --> 00:48:27,342

Jerome: Right.

:

00:48:27,362 --> 00:48:30,572

And think about like the hits that

it would get on YouTube, right?

:

00:48:31,032 --> 00:48:34,282

Like it would be, I mean, it

would be, it would be huge.

:

00:48:34,282 --> 00:48:35,282

So, okay.

:

00:48:35,312 --> 00:48:39,512

So media celebrities, again, as I

mentioned, one can't help but think

:

00:48:39,512 --> 00:48:43,072

that At least part of the inspiration

for two early Tarantino screenplays,

:

00:48:43,072 --> 00:48:46,192

True Romance, which we're going to

talk about, and Natural Born Killers.

:

00:48:46,652 --> 00:48:50,802

I, I would be surprised if Tarantino,

who worked many years in a video

:

00:48:50,802 --> 00:48:54,182

store probably has seen Bonnie and

Clyde a million times, if this wasn't

:

00:48:54,182 --> 00:48:57,522

at least a little bit in the back

of his mind when he wrote those two.

:

00:48:58,132 --> 00:49:00,452

So, okay, so let's wrap

this up with some trivia.

:

00:49:00,532 --> 00:49:00,802

Yeah.

:

00:49:01,262 --> 00:49:03,832

Jack Warner, the head of

the Warner Brothers Studios.

:

00:49:03,932 --> 00:49:07,802

Was having an argument over production

with Warren Beatty in his office.

:

00:49:07,972 --> 00:49:10,402

I don't know if you're familiar

with the Warner Brothers set in

:

00:49:10,412 --> 00:49:14,602

Hollywood in Burbank, but it's got

that big water tower that has WB on

:

00:49:14,602 --> 00:49:18,632

it, you know, so that's outside his

window and while they're arguing.

:

00:49:19,197 --> 00:49:20,957

Over what they want to

do with this production.

:

00:49:20,957 --> 00:49:23,807

Jack Warner says, Hey,

whose name is on that?

:

00:49:24,017 --> 00:49:25,947

Whose name is on that

water tower out there?

:

00:49:26,057 --> 00:49:27,117

Which baby replied?

:

00:49:27,177 --> 00:49:28,257

Yeah, my initials

:

00:49:31,697 --> 00:49:37,527

Yeah, it's awesome, man so I

thought that was a great story.

:

00:49:37,907 --> 00:49:40,507

I think Beatty himself is

where I heard that story.

:

00:49:40,507 --> 00:49:41,267

He told that story.

:

00:49:41,647 --> 00:49:46,897

Um, When, when Clyde tells her, this is

another interesting part when he gives

:

00:49:46,897 --> 00:49:50,947

the theme stated when they're in that

little diner at the beginning, Clyde

:

00:49:50,947 --> 00:49:55,057

tells her to change her hairstyle because

he quote unquote doesn't like that.

:

00:49:55,147 --> 00:49:56,577

And she immediately obliges.

:

00:49:57,167 --> 00:50:00,377

It was another, for me, another

one of those cringe moments of a

:

00:50:00,377 --> 00:50:02,087

man telling a woman what to do.

:

00:50:02,397 --> 00:50:05,787

We talked about it in the The

Children of a Lesser God episode.

:

00:50:05,807 --> 00:50:06,217

Right.

:

00:50:06,287 --> 00:50:06,717

Chris: Right?

:

00:50:06,787 --> 00:50:07,167

Yeah.

:

00:50:07,277 --> 00:50:11,257

Jerome: However, on the next

viewing, I realized why I didn't even

:

00:50:11,277 --> 00:50:14,617

catch it until I saw it the second

time, or rather the third time.

:

00:50:15,177 --> 00:50:18,527

Because the first time was in college,

obviously it went right over my head then.

:

00:50:18,827 --> 00:50:21,387

But then watching it for this podcast,

I didn't catch it on the first viewing

:

00:50:21,387 --> 00:50:22,907

then either, until the second viewing.

:

00:50:23,317 --> 00:50:26,067

The waitress comes over and

she's got the same hairdo!

:

00:50:27,027 --> 00:50:29,427

, ah, she's got the same hair thing.

:

00:50:29,697 --> 00:50:31,797

And when he looks at

her, and I, I caught it.

:

00:50:31,797 --> 00:50:33,387

I caught it on the third viewing.

:

00:50:33,387 --> 00:50:34,377

Chris: I didn't catch that either, huh?

:

00:50:34,407 --> 00:50:35,817

Jerome: Because of the

way he looks at her.

:

00:50:35,817 --> 00:50:37,377

And I'm like, why is he

looking at her like that?

:

00:50:37,377 --> 00:50:38,067

That's kind of weird.

:

00:50:38,067 --> 00:50:41,697

And then I realized she has the same

hair thing on the side of her head.

:

00:50:41,757 --> 00:50:42,147

Okay.

:

00:50:42,177 --> 00:50:45,567

And, and Clyde sort of looks at it,

and then when she walks away, he looks

:

00:50:45,567 --> 00:50:46,887

at Bonnie who's got the same thing.

:

00:50:46,887 --> 00:50:47,997

And he goes, I don't like that.

:

00:50:47,997 --> 00:50:48,657

Change that.

:

00:50:48,947 --> 00:50:51,887

Well, and it's still,

it's still cringey though.

:

00:50:52,282 --> 00:50:52,942

Oh, definitely.

:

00:50:52,952 --> 00:50:56,742

He could have said he here's, and

again, I don't like to rewrite

:

00:50:56,742 --> 00:50:59,782

stuff, but I did it with Hoffa and

I'm going to rewrite this one too.

:

00:51:00,112 --> 00:51:03,562

What I would have done is I

would have had Bonnie see it.

:

00:51:04,352 --> 00:51:04,682

Right.

:

00:51:04,682 --> 00:51:08,182

And if, and if Bonnie sees it and is

like, fuck that, I can't believe I

:

00:51:08,182 --> 00:51:11,682

have the same hairdo as that old ass

waitress and then changes her hair.

:

00:51:11,782 --> 00:51:13,142

And then maybe Clyde could be like,

:

00:51:13,152 --> 00:51:15,152

Chris: yeah, that would have had

a completely different feel then.

:

00:51:15,392 --> 00:51:17,162

Jerome: And then Clyde would

be like, what are you doing?

:

00:51:17,162 --> 00:51:19,212

And she'd just be like, I don't

like this hairstyle anymore.

:

00:51:19,232 --> 00:51:19,722

You know what I mean?

:

00:51:19,722 --> 00:51:21,027

Like you could easily have fixed it.

:

00:51:21,342 --> 00:51:22,033

Yeah, yeah, yeah.

:

00:51:22,038 --> 00:51:26,637

But for:

a man telling women what to do.

:

00:51:26,967 --> 00:51:30,957

Caveman man, telling

women, I don't like that.

:

00:51:30,957 --> 00:51:31,467

Change it.

:

00:51:31,887 --> 00:51:32,157

You know?

:

00:51:32,337 --> 00:51:32,547

Right.

:

00:51:33,797 --> 00:51:34,487

So , okay.

:

00:51:34,487 --> 00:51:36,767

So like we already talked about

this, the film's brutality

:

00:51:36,767 --> 00:51:38,327

changed the landscape for movies.

:

00:51:38,757 --> 00:51:41,457

It opened the door to more violent

movies that would take over in the

:

00:51:41,457 --> 00:51:46,647

seventies, particularly The Godfather

in:

:

00:51:46,767 --> 00:51:51,587

sonny's death at the toll, at the toll

booth getting shot up with a machine

:

00:51:51,587 --> 00:51:53,347

gun is an homage to Bonnie and Clyde.

:

00:51:53,397 --> 00:51:54,797

When did Psycho come out?

:

00:51:55,807 --> 00:51:56,757

:

:

00:51:57,377 --> 00:51:57,757

What?

:

00:51:58,547 --> 00:52:00,457

7 years before this movie.

:

00:52:00,657 --> 00:52:02,197

But that was that old.

:

00:52:02,337 --> 00:52:04,287

But that was a different type of violence.

:

00:52:04,297 --> 00:52:04,817

Yeah.

:

00:52:04,817 --> 00:52:06,327

That wasn't gun violence.

:

00:52:06,327 --> 00:52:10,672

That was Slasher that definitely

I would think maybe you can argue.

:

00:52:11,182 --> 00:52:14,972

Yeah, but you could argue that psycho

might have what started slasher movies.

:

00:52:15,022 --> 00:52:15,282

Yeah.

:

00:52:15,282 --> 00:52:15,902

Sure.

:

00:52:15,932 --> 00:52:17,372

Chris: Yeah crazy,

:

00:52:17,432 --> 00:52:17,942

Jerome: um

:

00:52:18,212 --> 00:52:23,923

So, yeah, so the so the argument of

trivia there is that if bonnie and clyde

:

00:52:23,923 --> 00:52:28,083

never gets released I don't know if

sonny's shooting in the godfather ever

:

00:52:28,083 --> 00:52:31,793

makes it into the film You know, at

least not with that kind of brutality.

:

00:52:31,843 --> 00:52:32,503

Right, right.

:

00:52:33,203 --> 00:52:37,923

So the real life Blanche Barrow hated

how she was portrayed in the film as it

:

00:52:37,923 --> 00:52:39,993

was an embarrassing characterization.

:

00:52:40,483 --> 00:52:45,423

However, director Arthur Penn did and

did that intentionally so that Bonnie

:

00:52:45,433 --> 00:52:47,513

Parker would look cooler by comparison.

:

00:52:47,673 --> 00:52:48,633

That was a quote by him.

:

00:52:50,303 --> 00:52:53,583

Additionally, while there has always

been speculation, again we talked

:

00:52:53,593 --> 00:52:57,063

about this already, speculation about

Clyde's sexuality, it was Beatty and

:

00:52:57,063 --> 00:52:58,913

Penn who decided to make him impotent.

:

00:52:59,153 --> 00:53:02,083

They felt it added a far better

layer to his personality, especially

:

00:53:02,083 --> 00:53:03,833

with the sexual tension with Bonnie.

:

00:53:04,333 --> 00:53:05,253

Anything else you got?

:

00:53:05,783 --> 00:53:06,033

Chris: No.

:

00:53:08,153 --> 00:53:08,403

No.

:

00:53:09,313 --> 00:53:10,711

I can't wait to get to the next one.

:

00:53:10,711 --> 00:53:11,763

So, this was fun.

:

00:53:12,523 --> 00:53:15,293

That's where we landed the

plane on Bonnie and Clyde.

:

00:53:15,723 --> 00:53:16,573

Uh, Stay tuned.

:

00:53:16,573 --> 00:53:20,673

It won't be long and we'll have

True Romance, Love on the Run

:

00:53:20,703 --> 00:53:23,923

Part 2 will be dropped very soon.

:

00:53:23,993 --> 00:53:26,443

Again, hit us up on Instagram or Facebook.

:

00:53:26,443 --> 00:53:27,503

We'd love to hear from you.

:

00:53:27,783 --> 00:53:29,853

Until next time, I'm Chris Wiegand.

:

00:53:30,213 --> 00:53:31,843

Go support your local cinema.

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About the Podcast

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Silver Screen Happy Hour
With the Wiegand Brothers

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About your hosts

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Jerome Wiegand

Born and raised in Metro Detroit, Michigan. Graduate of Columbia College Chicago with a degree in Film/Screenwriting. Have lived in California since 2001. I enjoy screenwriting, script consulting and film analysis.
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Chris Wiegand