Word: forded
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Dates: during 1960-1969
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...freshly concreted streets, stony-faced Indian women raced about on sleek Honda motorbikes, and stores were stocked with everything from American canned tomatoes to cold German beer. On down the road at Tarapoto, the local airport now handles more freight than any other in Peru except Lima. Along with Ford and Chevrolet agencies, Tarapoto has also sprouted no-parking signs and one-way streets...
...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 era. It is a measure of the movie...
...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 Foggy Mountain Breakdown suggests a comedy chase...
...surprise to Europeans. To an extent, the American film was discovered by the French, who see things in U.S. movies no one else saw before. The directors who created France's New Wave openly imitated such films from the American past as the westerns of John Ford, the adventure flicks of Howard Hawks, and B-level gangster fray-for-alls of the '30s, like Scarface. French critics who have seen Bonnie and Clyde praised it enthusiastically-an American movie that started out as a film for a French director whose best works were echoes of American movies...
...which still stands alone; it gave American cinema an epic sense of the nation's history. Orson Welles' Citizen Kane was another watershed film, with its stunning use of deep-focus photography and its merciless character analysis of that special U.S. phenomenon, the self-made mogul. John Ford's Stagecoach brought the western up from the dwarfed adolescence of cowboy-and-Injun adventures to the maturity and stature of a legend. Gene Kelly and Stanley Donen's Singin' in the Rain proved again the ingenuity of U.S. moviemakers to bring fresh style to the format...