Word: barrowful
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Dates: during 1960-1969
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Ghoulish Curio. The story has its basis in fact. Clyde Barrow and Bonnie Parker were two veal-faced wrongos who rode out of Texas during the Depression, killing and plundering for fun and profit. The constabulary bushwacked them in May 1934 near Arcadia, La., firing a thousand rounds into the fugitives and their 1934 Ford De Luxe, which 18 years later was still touring auto showrooms as a ghoulish curio. On their own turf, Bonnie and Clyde passed from the front page into folklore; elsewhere, they were relegated to Sunday-supplement features, colorful figures of the gangland...
...time they are cheered on by starving drifters who vicariously enjoy the cocky resume: "I'm Clyde Barrow, and this is Miss Bonnie Parker. We rob banks." In an episode at once poignant and wonderfully funny, Clyde lends his .45 to a Texas-gothic farmer, who shoots his deserted farmhouse, repossessed by the bank. They speed away from their jobs in a succession of stolen cars-their Ford coupes, Essex tourer and Marmon Saloon are virtually living members of the cast. The sound track adds a further fillip to the humor; the exuberant banjo picking of Earl Scruggs playing...
...blame for this unhappy situation lies with misguided public officials. If some kind of pressure cannot be brought to bear on the City Manager and the other officials who are responsible for the problem, the Avatar may soon be extinct. M. Pope Barrow...
...offer from Promoter Sidney Bernstein, entrepreneur of their 1964 and 1965 trips to the U.S., of $1,000,000 for two same-day performances at New York City's Shea Stadium. It's not that the money doesn't seem evergreen, explained Beatles Flack Tony Barrow, but that the electronics problem makes the boys so blue. "Until they have devised some way of presenting the 1967 sound onstage," Barrow said, "they will not make appearances. Mr. Bernstein might not mind if they sang some of their old songs-but the Beatles would mind...
Bonnie Parker (Faye Dunaway) and Clyde Barrow (Beatty) are the embodiment of this world of waitresses and gas station attendants. Clyde, the son of an itinerant farmer, is a small-time bank robber whose gun is a substitute for sexual potency. For Bonnie also, the gun is a release from the unfulfilled monotony of a West Dallas greasy-spoon. They fall in love, and a large part of the film is devoted to their specifically sexual frustrations, not as a clinical case study but as an emblem of waste and entropy...