How Bonnie and Clyde brought the French New Wave… | Little White Lies

In Praise Of

How Bon­nie and Clyde brought the French New Wave to Hollywood

08 Jul 2017

Words by David Pountain

Two people, a woman with blonde hair and a man in a flat cap, standing by a wooden structure in a rural setting.
Two people, a woman with blonde hair and a man in a flat cap, standing by a wooden structure in a rural setting.
Arthur Penn’s sem­i­nal crime thriller owes a lot to the likes of Jean-Luc Godard and François Truffaut.

Has Edgar Wright deliv­ered the most sat­is­fy­ing movie in-joke of 2017? In one par­tic­u­lar­ly nerve-wrack­ing scene in Baby Dri­ver, a sin­gle lens from Ansel Elgort’s sun­glass­es pops out amidst the pan­ic. Through this oblique sight gag, Wright evokes the image of War­ren Beat­ty as noto­ri­ous bank-rob­ber Clyde Bar­row, los­ing a lens in his glass­es mere moments before he and Bon­nie Park­er (Faye Dun­away) meet their fate under police gun­fire. But even Arthur Penn’s mas­ter­ful 1967 crime thriller can’t take cred­it for this eye­wear mal­func­tion, with Jean-Luc Godard’s sem­i­nal debut fea­ture from 1960, Breath­less, grant­i­ng doomed pro­tag­o­nist Michel (Jean-Paul Bel­mon­do) the same minor pre-death indignity.

In extend­ing this endear­ing pop cul­ture daisy chain of roy­al­ly screwed crim­i­nals, Wright has under­scored a pro­found through-line of influ­ence from the French New Wave to Bon­nie and Clyde to some of the most bru­tal, dar­ing or just down­right enjoy­able cin­e­ma that Hol­ly­wood has cranked out in the five decades since. Penn’s con­tro­ver­sial pic­ture was a bul­let-rid­dled Ford V8 crash­ing through the doors of the main­stream, clear­ing the entrance for a new, more cyn­i­cal age of cin­e­mat­ic sex and vio­lence while stu­dios and crit­ics alike scram­bled to keep up.

Like the mur­der­ous his­tor­i­cal cou­ple that held up banks, stores and gas sta­tions across the Amer­i­can south in the 1930s, the script to Bon­nie and Clyde did its fair share of trav­el­ling before stop­ping at its final des­ti­na­tion. When writ­ers David New­man and Robert Ben­ton, a cou­ple of French New Wave fan­boys par­tic­u­lar­ly fond of the tragi­com­e­dy of François Truf­faut, ini­tial­ly sent their screen­play to Penn, the direc­tor turned the project down due to pri­or com­mit­ments. The pair then turned to Truf­faut him­self, who pro­vid­ed fur­ther input on the script but would also decline. Godard too was approached but it quick­ly became appar­ent that the leg­endary icon­o­clast couldn’t func­tion with­in the big stu­dio system.

Truf­faut then hooked New­man and Ben­ton up with actor-pro­duc­er Beat­ty, who insist­ed that their very French screen­play need­ed an Amer­i­can direc­tor. Thus the script would even­tu­al­ly cir­cle back to Penn with addi­tion­al rewrites from a man soon to be recog­nised as one of the great scribes of the New Hol­ly­wood era, Robert Towne, whose cred­its include Chi­na­town and The Last Detail. What emerged from this cyclic jour­ney was a crime thriller that chan­nelled the fatal­is­tic irony, jumpy rhythms, sharp tonal shifts and shrewd self-aware­ness of the New Wave into an exhil­a­rat­ing and prof­itable work of white-hot entertainment.

New Hol­ly­wood still being Hol­ly­wood, the project’s tran­si­tion from the hands of Ben­ton, New­man and Truf­faut to Beat­ty, Penn and Towne neces­si­tat­ed a mea­sure of com­pro­mise (the orig­i­nal script saw Bon­nie and Clyde in a bisex­u­al three-way with their get­away dri­ver). Still, Godard and Truffaut’s exis­ten­tial blend of sex and death bleeds through vivid­ly, only now enriched with an all-Amer­i­can pro­cliv­i­ty for the oper­at­ic. You’ll see it in every flash of dread in a fool­hardy killer’s eyes and every sen­su­al caress of a loaded pis­tol. Hell, you’ll even find it in the blonde bangs that flop mess­i­ly down over Bonnie’s glam­orous visage.

It is, after all, the ugly-glam­ourous aura of star­dom imbued in the film’s title char­ac­ters that hit a nerve with so many of its detrac­tors. Bon­nie, Clyde and the rest of the Bar­row Gang are liv­ing in a bub­ble of fame, adven­ture and per­ceived incon­se­quen­tial­i­ty that’s intrud­ed upon by a grim, bloody reality.

Con­sid­er how the obliv­i­ous fugi­tive in Godard’s Breath­less mod­els his tough-guy image after the noirish per­sona of Humphrey Bog­a­rt. Now jump ahead to Bonnie’s mer­ry ren­di­tion of We’re in the Mon­ey’ after a screen­ing of Gold Dig­gers of 1933, or her self-mythol­o­gis­ing poem that offers a roman­ti­cised take on the couple’s life and impend­ing death. The gun-tot­ing Clyde may, iron­i­cal­ly enough, be sex­u­al­ly impo­tent but the couple’s famed demise – a dev­as­tat­ing slow motion cli­max that would for­ev­er raise the bar for cin­e­mat­ic vio­lence – feels like the pre­de­ter­mined petite mort that would con­firm their sta­tus as eter­nal lovers and icons of his­to­ry and the screen.

If the New Wave was a case of the French crit­ics decon­struct­ing the meth­ods and iconog­ra­phy of Amer­i­can cin­e­ma in order to fash­ion some­thing new and excit­ing, 1967’s Bon­nie and Clyde was arguably the moment where these for­ward-think­ing revi­sions tru­ly found their way back to the States. Despite its obvi­ous Euro­pean pre­de­ces­sors, Penn’s rur­al tale of Depres­sion-era car­nage and courtship feels dis­tinct­ly, pas­sion­ate­ly Amer­i­can, and its influ­ence can be felt not just in the bold era of home­grown cin­e­ma that fol­lowed but also in more recent pur­vey­ors of art­ful savagery.

From Tarantino’s vicious post-mod­ern gun­play to the trag­ic and self-con­scious myth-mak­ing of Andrew Dominik’s The Assas­si­na­tion of Jesse James by the Cow­ard Robert Ford, the spir­it of Bon­nie and Clyde con­tin­ues to leave a corpse-lit­tered trail through Amer­i­can cin­e­ma. In Godard’s Breath­less, it was famous­ly the great­est ambi­tion of esteemed direc­tor Parvule­sco to become immor­tal, and then die.” For the styl­ish anti­heroes of Penn’s film, those two con­tra­dic­to­ry fates have proven to be one and the same.

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