Word: clydes
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...less distinctive styles of their own. U.C.L.A. favors and encourages free-form experimentation. Moviemakers at rival U.S.C. try to put a high professional gloss on their products and are very Hollywood-conscious-so much so that one professor recently complained about the plethora of student parodies of Bonnie and Clyde. N.Y.U. students, by contrast, tend to turn out deliberately rough-hewn works with the grainy look of neorealistic, cinema-verite documentaries-a reflection, perhaps, of the fact that most of their films are shot on location in the streets of nearby Greenwich Village...
...good year before she reached Eldorado in Bonnie and Clyde, Actress Faye Dunaway, 27, signed a six-picture deal with Producer-Director Otto Preminger, well known as the fastest litigant in the West. One turkey was born of that union-Hurry Sundown -and Faye went her own way to stardom. Now Preminger wants her back under the terms of their contract, and filed suit in New York complaining that she failed to show up for work as ordered for the beginning of a new picture. Otto wants damages, plus an injunction that would keep her from working for anyone else...
Mike Nichols' The Graduate is a reactionary's substitute for Bonnie and Clyde as candidate for American nouvelle vague honors of 1967. The comedy elicits some laughs and the steady pacing prevents boredom, but when the last shot has meandered off the screen. The Graduate lives on in the mind as a dramatic cheat and a vivid example of Hollywood besieged by the creeping uglies...
Boff of the Week Standing in as host of NBC's Kraft Music Hall, Woody Allen produced a wicked parody called Bonnie's Clyde- with Allen as "Warren Beauty" and Liza Minnelli as "Faye O'Laye." Best boff: after Bonnie recites her ode to the Barrow Gang exploits, Clyde's brother Buck says, "I'm only a dumb hillbilly, ma'am, and I don't hold much truck with poetry, but you know what you've done?" Bonnie: "What's that, Buck Barrow?" Buck: "You've managed to combine...
Bonnie and Clyde by Arthur Penn. A knowledge of the best in American film art (the work of Griffith, Hawks, Ford, and Hitchcock, for example) leads us to the conclusion that great films come instinctively to their makers, that thematic depth is rarely the product of an analytical intellect working deliberately toward that end behind the camera. The elements in Bonnie and Clyde, on the other hand, have been chosen with some care; each shot has a function largely conceived at a planning stage, and Arthur Penn can give us a reason for any given angle, lens, or shadow. Following...