Word: guns
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Dates: during 1960-1969
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...their muddy dugouts, the Marines at Con Thien noticed an unusual absence of the harsh hiss of incoming shells. U.S. aerial reconnaissance found out why: in groups of 10 and 15, North Vietnamese regulars were spotted making their way northward out of the DMZ, leaving behind some abandoned gun emplacements. Plagued by problems of supply and outgunned by the U.S. response, which daily included at least 5,000 artillery shells and 1,000 tons of bombs dropped from B-52s, the North Vietnamese, at least for the moment, drastically reduced their barrage. Perhaps moving to higher ground to escape monsoon...
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...
...face blown off by a shot through the car window. The camera remains fixed on the bloody head as the car squeals around corners and the body refuses to disengage itself from the door. Again and again the camera will not spare us the after-effects of the gun battles, and we are trapped inside the getaway car as members of the gang, panic stricken and hysterical, are ripped apart by machine gun bullets. The death of Clyde's brother, Buck, virtually abandoned in a field, surrounded by vicious law officers, is unbearably powerful...
...which two people can be deeply in love, worry about the health of an aged mother, feel the responsibility of kinship and yet find no moral context for the idea of murder. The law for Bonnie and Clyde is merely the agent of a hostile universe. Clyde's gun, which so mesmerizes Bonnie when she first sees it, is the only potency they possess in the face of total anonymity. But it is, for a time, a very real potency, and Penn refuses to flinch at this fact. The script demands that the audience recognize the power of violence...
Minutes later, Montero, who seemed to be in the right place all afternoon, headed the ball past Damigella on three bounces, after throwing a beautiful fake at the rookie goalie. Scott Robertson, last year's high scorer, knocked in a rebound from a Hoeppner shot right before the gun for the fourth goal of the period...