Bonnie and Clyde

Bonnie and Clyde plays like a masterpiece of the French New Wave, cleverly disguised as an American film. This comparison is not an exaggeration, as the screenwriters initially dreamed of convincing François Truffaut or Jean-Luc Godard to direct the film. However, negotiations with both filmmakers ultimately failed, and Arthur Penn took the director’s chair instead. The American director rose to the challenge brilliantly, transforming the fact-based story of a pair of criminals roaming the U.S. during the Great Depression into a stylish and macabre spectacle.

Perhaps the film’s greatest strength – aside from the unforgettable performances of Faye Dunaway and Warren Beatty in the title roles – is its genre fluidity. Romance seamlessly transitions into slapstick, which in turn gives way to stark, realistic violence. Upon its release, Penn’s radical vision divided audiences – Bonnie and Clyde faced backlash from critics and even from people involved in the real-life events, including Clyde Barrow’s sister-in-law, who complained that her on-screen portrayal made her seem “like a screaming horse’s ass.” However, the voices of discontent were soon drowned out by widespread acclaim, culminating in ten Academy Award nominations.

Piotr Czerkawski

Arthur Penn (1922–2010) was a key figure in 1960s American cinema and a driving force behind New Hollywood. His Bonnie and Clyde (1967) redefined the gangster genre, blending violence with romance and challenging cinematic conventions. Little Big Man (1970) deconstructed the Wild West myth, offering a critical take on American history. Penn masterfully combined narrative freedom with psychological depth, creating films that were rebellious, ironic, and deeply reflective of the individual’s place in society.