OSCARS ‘67: Bonnie and Clyde
Important, iconic, and kind of irrelevant.
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CONTENT WARNING: Discussion of a biphobic and homophobic decision in the writing process, graphic violence, sexual relationships between costars, film nudity, impotence.
We’re embarking on our most ambitious series yet for this movie review show - the major Oscar nominees of 1967. The year is loaded with classic movies that truly challenged the idea of what stories Hollywood could tell and what audiences wanted to see. And no movie embodies that more than this week’s entry, a dizzying, unpolished, proto-indie gangster movie about two of Texas’ most notorious bank robbers. This movie has some amazing technical feats and one of the coolest vibes ever. Yet there’s a big lack of substance and story in the writing, and no amount of great supporting acting or wild-paced editing can fix it. The result is a movie that’s truly iconic of its time and hugely influential, but just doesn’t hold up any more. We watched Bonnie and Clyde for this inaugural ‘67 Oscars episode of Macintosh & Maud Haven’t Seen What?!
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Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.
Excerpt taken of the introductory music for the 1968 Academy Awards, arranged and conducted by Elmer Bernstein, and performed by the Academy Awards Orchestra.
Clips from Bonnie and Clyde are copyright 1967 Warner Bros. Entertainment Inc. All rights reserved.
Excerpt taken from “Main Title” from the motion picture Cool Hand Luke, composed by Lalo Schifrin. Copyright 1967 Warner Bros.-Seven Arts.
