Arthur Penn
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…and later we get a long car-chase sequence that leans heavily on the 1967 "Bonnie and Clyde."
…the references to other movies often fall flat (among others, there are allusions to Cabaret, Bonnie and Clyde, Joker, Swing Time, and, of course, Young Frankenstein)…
…las fugas de la pareja protagonista que recuerdan mucho a las de Bonnie and Clyde…
The visuals, the references-- you know, I came out of there just, like, wanting to turn Bonnie and Clyde back on, you know, like wanting to see all my fun things again.
From Bonnie and Clyde and Barbara Stanwyck’s Baby Face to Fred Astaire and Ginger Rogers’ musicals…
…visuals that nod directly to Arthur Penn’s Bonnie and Clyde…
Dreamland (2019)
Directed by Miles Joris-Peyrafitte
influenced by Bonnie and Clyde (1967)
Visuals Characters Plot Themes
These words are spoken by Eugene’s kid sister, Phoebe (Lola Kirke performs the older-wiser thoughts of child actor Darby Camp), with a kind of purity that recalls the dreamy voiceover of Terrence Malick’s “Days of Heaven” — as mythic an influence on “Dreamland” as Arthur Penn’s “Bonnie and Clyde,” which could have been its prequel, had Clyde died and Bonnie stumbled away wounded from that climactic shootout.
At 27 years old, Miles Joris-Peyrafitte proves himself to be one of the most exciting young directors around with Dreamland, a drama with dazzling visuals, subtle performances and deft nods to classics like Days of Heaven and Bonnie and Clyde .
Robbie’s Allison, a fictional character, has obvious echoes of Bonnie Parker, the real-life outlaw played by Faye Dunaway in “Bonnie and Clyde.”
Dreamland’s set-up reads like a Bonnie and Clyde rip-off, a fact which director Miles Joris-Peyrafitte seems well-aware of.
With echoes of Bonnie and Clyde and movies set in the Dust Bowl of the 1930s, Dreamland feels familiar and original at the same time.
While the initial comparison one might make is to the classic outlaw romance Bonnie and Clyde, the biggest influence on Dreamland director Miles Joris-Peyrafitte and screenwriter Nicolaas Zwart appears to be the cinema of Terrence Malick.
The Devil's Rejects (2005)
Directed by Rob Zombie
influenced by Bonnie and Clyde (1967)
Visuals Themes Plot
And since every over-the-top movie needs a way-over-the-top wind-up, why not rip off the ending of Arthur Penn's "Bonnie and Clyde" — one of the most reverently esteemed movie sequences of the 1960s — and play it for stupid, sloppy laughs?
If the glossy House of 1000 Corpses ’ major point of reference was Tobe Hooper’s Funhouse, the much grungier The Devil’s Rejects thinks a little further back: not just to The Hills Have Eyes , but to bloody westerns like The Wild Bunch and lovers-on-the-lam movies like Bonnie and Clyde.
This is partly the result of Zombie's influences, which include the morally ambiguous thrillers and horror movies from before the age of CGI: the revenge films of Charles Bronson and Clint Eastwood, "Straw Dogs" and most especially "Bonnie and Clyde."
"House of 1000 Corpses" may have been a low-rent "Texas Chainsaw" ripoff, but this sequel has echoes of "The Wild Bunch" and "Bonnie and Clyde" with a soupcon of the Manson gang and Spahn Ranch.
You couldn't call The Devil's Rejects an original work: it's a busy pastiche of influences ranging from The Texas Chainsaw Massacre and Bonnie and Clyde to the 1970s Southern Rock songbook.
Here, the shout-outs are less particular; an era is recalled rather than individual movies (though Last House on the Left and Bonnie and Clyde strongly influence the plot).
As love blossoms along the open road, their relationship evokes the Bonnie and Clyde -esque abstractions of Badlands, in its innocent deadliness.
Beneath the visceral shock of its premise — and trust that there will be blood, along with torn skin and tendons and at least several organs á la carte — is less a straightforward horror exercise than a road-trip romance edged in darkness, in the vein of Badlands or Bonnie and Clyde or even Thelma & Louise .
Choose your plan ArrowRight With its aestheticized gore; moody teenage angst; and knowing references to such classics as “Badlands,” “Bonnie and Clyde” and “Near Dark,” Luca Guadagnino’s visualization of Camille DeAngelis’s young-adult novel plunges audiences into a gross but occasionally engrossing slough of cognitive dissonance.
Bones and All more or less follows in the footsteps of movies from Bonnie and Clyde to Terrence Malick’s Badlands in putting a pair of pretty people on the wrong side of the law and sending them on the run, but in this case, it’s questionable how human they are.
Guadagnino’s darkly dreamy film, which opens in select theaters Friday, has some of the spirit of iconic love-on-the-run films like Arthur Penn’s “Bonnie and Clyde,” Terrence Malick’s “Badlands” and Nicholas Ray’s “They Live By Night” — movies that as open-road odysseys double as portraits of America.
Strip the flesh from the bones of the latest film by Luca Guadagnino and the skeletal story framework is a familiar one: it’s an outlaw lovers road movie, sharing DNA with dustbowl odysseys such as Badlands and Bonnie and Clyde .
He works in references to other films, Westerns and neo-Westerns, that deal with similar issues — “Badlands,” “Bonnie and Clyde,” the Coens’ “True Grit” (which also featured Bridges), any number of old Westerns about Jesse and Frank James , and maybe even “No Country for Old Men.”
You might have to go back to 1967’s Bonnie and Clyde to find a film about bank robbers that feels as of its time as David Mackenzie’s Hell or High Water.
Mackenzie’s film quietly updates the themes and sensibility of Bonnie and Clyde.
From Zorro to Scarface to Batman to Bonnie and Clyde, the devilish allure of seeking justice and fulfillment outside of convention and societal rubrics has fascinated audiences since the early days of film, and the idea of the outlaw remains as ripe for rumination and trigger-happy entertainment as ever.
It's a familiar story with a familiar populist undercurrent, reminiscent of '60s and '70s flicks such as Bonnie and Clyde and Dog Day Afternoon.
It's much more even than a very fine entry in the long line of outlaw road movies, going back through Bonnie and Clyde and Thunderbolt and Lightfoot .
Public Enemies (2009)
Directed by Michael Mann
influenced by Bonnie and Clyde (1967)
Characters Themes Visuals
Depp is charismatic but his Dillinger is a wan copy of Warren Beatty in “Bonnie and Clyde,” even paraphrasing a Beatty line, “I’m John Dillinger.
This hollow gangster-driven outing, which trades on Mann's reputation, is not in the same league as "The Untouchables" or "Bonnie and Clyde."
Other later-period movies about that era — Bonnie and Clyde, for instance, or even John Milius' 1973 Dillinger — had fun with the old cars, the wardrobes, and the ricky-ticky music.
It fits neatly on the shelf with "Bonnie and Clyde" and "The Godfather."
On a visual scale, it's technically proficient and impressive, but on an emotional level, it lacks the cinematic gravitas to stand alongside classic gangster epics like “Bonnie and Clyde” and “The Untouchables.”
Another Day in Paradise (1998)
Directed by Larry Clark
influenced by Bonnie and Clyde (1967)
Themes Plot
The reason I love the criminal-lovers-on-the-run classics "Bonnie and Clyde" and "Badlands" so much is that the creators of those films are playing with what the audience is willing to accept from their movie characters.
Clark's response is a kind of homage to Van Sant's own Drugstore Cowboy (1989) with a little bit of Bonnie and Clyde (1967) thrown in.
The underlying story structure is from "Bonnie and Clyde,'' which itself was inspired by earlier road movies.
It's Bonnie and Clyde by way of EastEnders and The League of Gentlemen.
Basically, think Natural Born Killers, Badlands, and Bonnie and Clyde, only rather than the perpetrators being lovers-on-the-run, robbers fighting the system, or just pure psychopaths killing for the hell of it, Tina and Chris are instead just average schlubs, only killing because it makes their holiday that much more convenient.
Expert modulation of disparate tones within the same scene ensures that while this is yet another road-movie about a murderously amorous couple - a tradition that includes Leonard Kastle's The Honeymoon Killers, Tony Scott's Natural Born Killers and even Arthur Penn's Bonnie and Clyde - Wheatley and company's new variation has a wit, brio and panache entirely its own.
Before long, Niccol morphs In Time into a yarn that borrows liberally from Robin Hood and Bonnie and Clyde as Will and Sylvia race around determined to steal from the rich and give to the poor.
Borrowing a dash from Logan's Run and a dollop from Bonnie and Clyde, the concept is that in the near future, time has become the most precious commodity.
Drawing on movies like Gun Crazy, Thieves Like Us and, of course, Bonnie and Clyde, Niccol gives us a combination crime spree/love story.
Writer/director Andrew Niccol’s plodding Logan’s Run-meets-Bonnie and Clyde pastiche takes its vacuous emoting and C-grade plotting very seriously, but the whole thing ultimately becomes nothing more than a dumbed down, tarted-up riff on his earlier film Gattaca (1997).
As previously mentioned, from this moment on the film officially becomes a game of cat and mouse with a bit of Bonnie and Clyde subtext thrown in for good measure.
Set in an unspecified future, In Time owes as much to The Marx-Engels Reader as Bonnie and Clyde.
And for those unsure about the film's concept and anarchic spirit, "Bandits" is equal parts "Bonnie and Clyde" and "Butch Cassidy and the Sundance Kid" with a little bit of "Dirty Rotten Scoundrels" thrown in for good measure.
All bank robber movies have to deal with the fact that there is a film out there called Bonnie and Clyde, and when a movie reminds you over and over about the infamous duo, it doesn�t help matters.
The film, which seems to combine Jules and Jim with Bonnie and Clyde, gets off to a rough start.
So far, so like Jules and Jim meets Bonnie and Clyde.
The Highwaymen (2019)
Directed by John Lee Hancock
influenced by Bonnie and Clyde (1967)
Themes Plot
Fifty years ago, Arthur Penn’s Bonnie and Clyde fired the first salvo in the New Hollywood revolution by portraying the infamous outlaws as fight-the-man folk heroes.
For those who don’t know, Frank Hamer’s estate never forgave 1967’s Bonnie And Clyde for the officer’s “false” portrayal – hence Hancock’s passionate desire to honor the man wife Gladys (played by Kim Dickens) loved, cared for, and supported.
But this movie about chasing Bonnie and Clyde is also a movie about Bonnie and Clyde.
O Brother, Where Art Thou? (2000)
Directed by Joel Coen
influenced by Bonnie and Clyde (1967)
Themes Plot
Supposedly inspired by Homer's The Odyssey, it also borrows heavily from Moby Dick, Bonnie and Clyde, and The Wizard of Oz, as well as the Faulkneresque trappings of the Depression era South.
It pays homage to "The Wizard of Oz" and "Bonnie and Clyde," takes its name from the movie that Joel McCrea's character is making in Preston Sturges' "Sullivan's Travels" and uses "The Odyssey" as a narrative template to give a hayseed spin to the ancient Greek poem.
They also pass themselves off to a blind radio DJ as a singing quintet called the Soggy Bottom Boys, recording a seriously catchy banjo ditty that becomes a hit record while they're busy ducking and dodging the law, "Bonnie and Clyde" style.
The Old Man & the Gun (2018)
Directed by David Lowery
influenced by Bonnie and Clyde (1967)
Plot Themes
It is inspired by classic Hollywood films, including Bonnie and Clyde (1967) and Cool Hand Luke (1967) and The Sting (1973).
It’s a story innately attuned to cinema – think Bonnie and Clyde meets The Bucket List .
It's "On Golden Pond" meets "Bonnie and Clyde."
And, while I'm asking questions, why is Sewell's character obsessed with remembering the title of the western that starred Marlon Brando and Jack Nicholson ("The Missouri Breaks," although I don't remember it well enough to know what it has to do with "Old")?
Distractions abound, including an abrupt pregnancy and Sewell's character's fixation on a Marlon Brando-Jack Nicholson vehicle he just can't seem to put his finger on (it's "The Missouri Breaks"), which make "Old" play more silly than suspenseful.
And another character who is slowly succumbing to some mental illness repeatedly asks what the movie with Marlon Brando and Jack Nicholson is — it’s The Missouri Breaks , by the way.
…stare at him blankly, not caring a whit about his suffering, as some of us in the audience whisper furtively, “The Missouri Breaks.”
Under the circumstances, the cast do what they can with the sketchily delineated characters and limited scope for development; Sewell, in particular, suffers, particularly because Shyamalan saddles him with a misguided bit of business involving “The Missouri Breaks.”
The movie jokingly references Bonnie and Clyde , but a more natural touchstone might be Oliver Stone's Natural Born Killers , with a passing nod to Joe vs. the Volcano .
With hints of movies like Harold and Maude, Falling Down and Bonnie and Clyde lurking deep within its DNA, God Bless America is one of the most blisteringly fun blood-soaked, violently over-the-top flicks in some time that cleverly manages to not only entertain but get you thinking as well (which is a rarity).
Borrowing bits and pieces from Network, Bonnie And Clyde , and Taxi Driver , God Bless America takes off on a honey of a premise: An angry middle-aged man—divorced, recently unemployed, and just informed he has an inoperable brain tumor—decides to murder one of those whiny brats on a My Super Sweet 16-like reality show.
And there's such spark mixed with pain in Sessa's young Dustin Hoffman-esque turn (a comparison reinforced when Paul and Angus hit the cinema to see western Little Big Man, which stars Hoffman, and by The Holdovers overall harking back to The Graduate times).
The Revenant (2015)
Directed by Alejandro G. Iñárritu
influenced by The Missouri Breaks (1976), Little Big Man (1970)
Visuals Themes
The location may recall Marlon Brando’s 1976 western, The Missouri Breaks, but thematically it’s closer to the late colossus’s politics.
But for all its anthropological niceties, Iñárritu’s vision of Native Americans traffics in the same noble-savage clichés that render movies like “Dances With Wolves” and “Little Big Man” the regretful fantasies of conquerors.
As it stands, the film directed by Alejandro G. Inarritu, is no more impressive than “The Outlaw Josey Wales” or perhaps “Little Big Man.”
By now it’s hard to fathom that Feast of Love director Robert Benton is the Robert Benton of Bonnie and Clyde and Kramer vs. Kramer fame.
Why Benton, who has written such memorable films as "Bonnie and Clyde" and "Kramer vs Kramer" left the script to the sappy Burnett ("Autumn in New York") is anybody's guess.
The Bonnie and Clyde co-writer was once a Hollywood mini-revolutionary.
Though he started his career as a writer of zeitgeist-capturing projects like Bonnie and Clyde, Superman and Kramer vs. Kramer, to many his breakthrough as a director came in 1994, when he ushered Paul Newman to a Best Oscar nomination for the understated charmer Nobody's Fool.
Gangster Squad (2013)
Directed by Ruben Fleischer
influenced by Bonnie and Clyde (1967)
Visuals Themes
Or the ultraviolent concluding shootout that rips off everything from “The Untouchables” to “Bonnie and Clyde” to “Dirty Harry” to various other things I didn’t bother to identify?
Gangster movies love two themes most: crime and celebrity (Bonnie and Clyde et al) and Westward Expansion (Goodfellas etc).
The film’s revisionism was nothing new--both Ralph Nelson and Arthur Penn had turned the tables on western clichés back in 1970 with Soldier Blue and Little Big Man, respectively--but Costner and screenwriter Michael Blake (who adapted his own 1987 novel) reinvigorate the argument with depth of character and a narrative scope that allows for various shades of gray across all perspectives.
"Little Big Man" and "Windwalker" come to mind as examples of movies that treated Indians as multidimensional human beings or used native Indian languages with English subtitles.
Two decades earlier, A Man Called Horse and Little Big Man showed characters attempting to bridge the divide between white American culture and Native American tribalism, but Costner went for broke with his large-scale, Panavision epic, clocking in at three hours.