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.

About the Podcast

Show artwork for Silver Screen Happy Hour
Silver Screen Happy Hour
With the Wiegand Brothers

About your hosts

Profile picture for Jerome Wiegand

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