Cinema Retro Editor-in-Chief Lee Pfeiffer provides an in-depth review of one of the most eagerly-awaited DVD releases of the year.
Warner Home Video has finally released a DVD edition of Bonnie and Clyde that does justice to director Arthur Penn's masterpiece of American filmmaking. Although the movie was a sensation when released in 1967, the abundance of other great films that year (The Graduate and In the Heat of the Night among them) somewhat distracted from the appreciation that should have been accorded the movie at that year's Oscars, where it lost in most of the major categories. Yet, moreso than any other film released in 1967, Bonnie and Clyde remains as relevant today as it ever did. There isn't an aspect of the movie that seems dated and from the technical point of view, it still seems as fresh and innovative as ever: especially in an era in which many young directors envision their feature films as though they are big screen versions of video games. Despite being one of the crown jewels in the Warner Brothers catalog, the studio had only released a bare bones DVD version. That mistake has been corrected with Bonnie and Clyde: The Ultimate Collector's Edition, a 2 DVD set that lives up to the hype. Curiously, this set wasn't ready for release last year, which would have marked the 40th anniversary of the film. However, patience is a virtue when it comes to something this good and the release was well worth the wait.
Here is a detailed breakdown of what the set contains:
Disc #1 primarily consists of the feature film, which has been stunningly remastered. I have seen this film dozens of times and in many ways, this was the most enjoyable experience. You can appreciate every technical aspect of the film, as never before - with Burnett Guffey's magnificent, Oscar-winning cinematography emerging as a real star of the presentation. We learn in the accompanying documentary that Guffey came from the old school and fought Arthur Penn tooth-and-nail throughout the production, trying to resist the director's insistence that the movie be shot in an innovative way. Guffey even quit the film briefly in protest, but in the end, delivered one of the most beautifully photographed films of the era. His camera does justice to it's two glamorous stars, Warren Beatty and Faye Dunaway, the latter of whom Guffey photographs as though she was a goddess, despite the fact that Dunaway is playing a small town waitress. It's to her credit as an actress that her breathtaking beauty doesn't negate the plausibility of her performance. In particular, note the way Guffey chooses to introduce the audience to Bonnie Parker in the film's first frames as she restlessly lounges around her bedroom naked, bored to tears with her dead-end life. You only see the faintest glimpses of her naked body, but these, brief tantalizing views make the scene one of the most erotic in memory.
The film itself holds up superbly on every level. We've said on many occasions that the lack of great character actors in the business today has made the film industry far less interesting. If Bonnie and Clyde went into production in the present day, it would doubtlessly be cast with people who look like they stepped out of fashion magazines. However, with the exception of Beatty and Dunaway, everyone in the film looks like someone who might live on Main Street, U.S.A. Consequently, the performances of Gene Hackman, Michael J. Pollard and Estelle Parsons are made all the more impressive by the fact that the actors don't look like movie stars. As good as Beatty and Dunaway are (and they were never better), it's the supporting cast that carries this movie to a great extent, and every player is superb. That also includes the second-rung cast members, all of whom contribute mightily to the production. Among them: Gene Wilder (his first film) and Evans Evans (we love that name) as the square couple who are kidnapped by the Barrow Gang and improbably bond with them, at least temporarily; that gloriously grouchy character actor Dub Taylor, who ultimately plans an act of betrayal that leads to the deaths of Bonnie and Clyde, and the great Denver Pyle as the stalwart Texas Ranger who relentlessly pursues the gang after having been humiliated by them. Add to this mix, the innovative blue grass score by Charles Strouse (wonderfully played by Flatt and Scruggs), Dede Allen's ground-breaking editing, Dean Tavoularis' magnificent art direction and Theodora van Runkle's costume designs that inspired a revolution in pop culture, and you have the virtually perfect cinematic experience. Of course, what sets Bonnie and Clyde apart from B gangster movies is the ballsy direction of Arthur Penn, who avoided every cliche, and one of the best screenplays of all time, courtesy of Robert Benton and David Newman (with uncredited contributions from Robert Towne). The only other features on the first disc are the teaser trailer and regular theatrical trailer, which feature psychadelic themes that were clearly aimed at the Flower Power generation.
Disc #2 features a wealth of bonus materials, including original documentaries by the ubiquitous producer Laurent Bouzereau, who seems to have cornered a market on these types of projects. This has caused some complaints that too many high profile DVD documentaries are being placed in the hands of a single producer, but we have no problem with it for a simple reason: Bouzereau is the best at this type of thing. Unlike many producers who ruin these "making of" documentaries by utilizing rapid fire editing and fancy, gimmicky camera angles, Bouzereau takes a more traditional approach that actually allows the participants' comments to be heard in complete sentences. He also deserves full credit for getting virtually all of the major players on camera for fresh interviews in Revolution! The Making of Bonnie and Clyde, including the normally press-shy Warren Beatty, who also produced this film. Beatty, who can be long-winded and rambling when he does speak, comes across very well here: he's gracious, modest and gives much credit to other participants. He candidly admits he didn't want Dunaway, who was virtually unknown at the time, for the role of Bonnie and had to be persuaded to sign her for the film. Dunaway, in turn, still looks terrific and makes us realize how unfair the youth-driven film industry has been in depriving fans from seeing her in contemporary leading roles. Dunaway does err in proclaiming Beatty to be the first actor/producer. That isn't true by a long shot, as stars such as Burt Lancaster, Kirk Douglas and John Wayne had successful production companies a full decade before this movie was made. Also on board is the normally reclusive Gene Hackman, who adds immeasurably to the documentary with some amusing anecdotes, Michael J. Pollard (who seems as delightfully befuddled as the character he plays in the film), Estelle Parsons, who won an Oscar for her performance, Evans Evans, Arthur Penn, Robert Towne, Dede Allen, Robert Benton, director Curtis Hanson (whose photographs of Dunaway at the time led to her getting the role), press agent Dick Guttman, who orchestrated the ad campaigns, Dean Tavoularis, and Theodora van Runkle. Even Morgan Fairchild pops up, as she had been a double on the film for Dunaway. In contrast to the dippy blondes she has often played, Fairchild gives very good insights into the legacy of the film, correctly pointing out that its groundbreaking depiction of violence paved the way for Sam Peckinpah's The Wild Bunch two years later. All of the participants are justifiably proud to have been part of the experience, though all admit they had no idea of the impact the movie would ultimately have.
There are sub-sections to the documentary that explore the explosive impact the film had on contemporary style. Dunaway says she didn't realize it until she went to London to promote the movie and saw many young women sporting Bonnie Parker berets. This section on style features wonderful original costume sketches as well. One of the most interesting aspects of the documentary deals with the ticklish challenge of marketing the film. At first, it laid an egg at the box-office and even some of the nation's most influential critics (including Bosley Crowther of The New York Times) disdained it. Yet, in an era in which individual film critics carried significant clout, Pauline Kael wrote a rave about the movie that saved it from obvlivion. Warner Brothers launched a major new ad campaign and the film got a second life, ultimately becoming a box-office blockbuster. Beatty admits this would be impossible today, when even the biggest hits are out of theaters in a matter of weeks. The second disc also features a History Channel documentary from the 1990s, Love and Death: The Story of Bonnie and Clyde that provides a valuable contrast to the Hollywood version. Although the basic facts reamined in the screenplay, significant dramatic license had been taken. The disc also showcases two newly-discovered deleted scenes, though, sadly the audio is missing. (You can watch them with sub-titles of dialogue from the original script.) In the first scene, Bonnie and Clyde are eating in a diner and the sexually frustrated Bonnie demands to know why their confederate, C.W. is always invited to share their room. Clyde, who is using the ploy to hide the fact that he is impotent, neatly sidesteps the conversations by planning their next bank job by drawing a map in sugar he has spilled on the table. The second scene is a prelude to a sequence that remains in the film in which Clyde warns Bonnie that their life will become a living hell, and he gives her the option of returning home before its too late. In the cut sequence, Bonnie is playfully dressing up in a fedora and singing to the bathroom mirror, while C.W. takes a bath. This disc also contains some silent wardrobe footage of Beatty modeling prospective outfits for the film.
The Ultimate Edition also contains some cool bonus extras that Cinema Retro readers, many of whom collect movie memorabilia, will appreciate. The first is a reproduction of the film's original pressbook, a great idea compromised only by the fact that its reduced size makes much of the text almost impossible to read without a magnifying glass. Still, its wonderful to see the promotional tools employed to promote the movie, ranging from the tie-in novelization to faux bullet-riddled, shattered glass you can place on theater windows saying "Bonnie and Clyde was here..." There is also a 36 page hardback photo book that displays some superb, rare production photos and theatrical marketing materials. As welcome as this novelty is, one wishes a bit more effort had been made to incorporate a few essays or overall perspective on the film's legacy. As it stands, there is virtually no writing whatsoever to compliment these rare shots. (Apparently, the Blu-ray edition has a different, 34 page hardback book with different content including a production history.) The set also contains a mail-in flyer that allows you to get a Bonnie and Clyde commemorative poster in return for postage and handling.
If there is one aspect of this set that falls short, it's the absence of a commentary track. Given the fact that all the principal players participated, this is puzzling and seems like a precious lost opportunity. Still, what is in the Ultimate Edition more than justifies our recommendation that this is a magnificent tribute to a magnificent motion picture. Make this an essential addition to your DVD library. -Lee Pfeiffer
(Bonnie and Clyde is also available as a 2 DVD set minus the bonus extras of the book and pressbook, but we strongly recommended you stick with the Ultimate Edition.)
CLICK HERE TO ORDER THE ULTIMATE EDITION FROM THE CINEMA RETRO AMAZON STORE
CLICK HERE TO ORDER THE 2 DISC EDITION MINUS THE BOOK AND PRESSBOOK
CLICK HERE TO ORDER BLU-RAY EDITION THAT COMES WITH A UNIQUE HARDBACK BOOK EXCLUSIVE TO THE BLU-RAY RELEASE
COMING SOON: DIRECTOR ARTHUR PENN RECALLS BONNIE AND CLYDE IN AN EXCLUSIVE INTERVIEW WITH CINEMA RETRO.