Word: clydes
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Dates: during 1960-1969
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...helped establish Harvard's first separate Department of Psychology. And in 1946. Allport, with Talcott Parsons (sociology), the late Clyde Kluckhohn (anthropology), and Henry Merry (clinical psychology), founded the first inter-disciplinary department in the social sciences in the United States. Harvard's Department of Social Relations. Parsons became its chairman and Allport headed its graduate division...
...first moments Bonnie and Clyde flirts with the idea of being an art movie, but before any real damage is done, the director, the writers, and the cameraman abandon their collective self-consciousness and the worst temptation is past. What follows is an extraordinary film...
...early '30's is the locale of the film. Ugly little towns, cropless fields and unpaved roads fill the screen. Garbage, newspapers, and dust blow across endless flatlands, and each shabby interior has its own oppressiveness. It is less poverty than ultimate bleakness that is Bonnie and Clyde's landscape. Times are hard, but it is the place rather than the time which shapes the society Penn portrays. His view of the depression is closer to that of Walker Evans than Dorothea Lange, and he has peopled his film with faces of unspectacular emptiness. Everyone is dispossessed: those who hold...
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...
...series of compressed vignettes, punctuated by wild car chases to the accompaniment of Flatt & Scruggs banjo music, the film describes the criminal career of Bonnie. Clyde and the friends and relations they collect along the way. Their initially clumsy and comic efforts at robbing banks become increasingly bloody as the film proceeds, until the imagery of incredible violence is the only real visual counterpoint to the desolate image of the landscape. And this is violence unlike that of any other film. Instead of the crisp theatricality and well-timed effects of a movie like The Dirty Dozen, Penn forces...