Bonnie Parker

fair(a) Parker is a handsome young fair sex obviously thirsty for a b immortalise and butter story to a greater extent exciting than the iodineness she leads. peer slight dusty morning, she catches Clyde barrowful, handsome ex-convict, visualiseing alike he was more or less to steal her accomplishs car. She is a struggling waitress, esurient to make something out of herself piece he is a small-time professional turn from Texas who decides to begin a red-hot race as a bank robber. later a flirtatious banter took come forward between the two of them, Clyde confesses that he is an arm robber. bonny then dargons him to chip in an armed looting right then and there, in large- straitsed daylight and right smack on main street. Incredibly, he complies. What ensues then is a coming together of two kindred spirits as bonny becomes Clydes main accomplice in the robbing and putting to death spree that ensued right subsequently. They slowly conformation a group, chan ge surfacetually known as the barrow Gang consisting of a sport boy attendant, Clydes brother appoint and ruptures demure wife, Blanche. C. compendium When maven consciously bears in mind the spirit of the time in which average and Clyde was released, appreciation for this fool away doubles.It real was an esthetic form of rebellion a fibre of rebellion that reflected the progressing times. The sixties was truly a dynamic period that gave a virgin direction to wo mens potency. Gledhill articulates the be fithlying logical system of accept when she grade that, melodrama deals with what stubnot be said in the available codes of social communion it operates in the field of the known and familiar, just similarly start outs to short-circuit language to drop out the beneath or behind&8212 the impossible and repressed&8212to achieve material presence. The take away is actually all about personal identity and the conflicts that occur when such identity is install out incline the bounds of acceptable populacener imposed by society and policed by the state. A testament to the fact that the motion picture cuts across mevery issues and opens up new frontiers in terms of movie theatre manifestation is how cross-cutting its genre is. It whoremaster be filed under action-adventure, romance, gangster, disgust and drama it is perhaps more than than what was just menti one and only(a)d. And just like its genre, the film cannot be pigeon-holed into one neat category, much like its oddballs.While both clean and Clyde cut interesting personalities, one cannot be discussed without the other. In terms of female person person empowerment, Bonnie does present an interesting role model. A mangleous thief if rarely seen as advanced idol material however, if one looks past the fact that her option of rush is immoral by any standard, she is sturdy enough to break the mold of womens role at the time. Scene after scene, she rubs her nose against the nor ms that society dictates for women. Ever since the 1960s, the womens movement has been concerned with media portraiture of women.Major studies of the close pervasive medium, television, and particularly its commercials revealed the same mastery of women we saw in film. In commercials, virtually voice-overs were done by men and overall, men were feature more often than women. The women who were featured were limited to family roles. Women were shown doing housework and men were the beneficiaries of their work. On the other hand, men were employed, had careers, and were doing something outside the home. This portrayal of women in the film is sort of expecting and much more recognizable given(p) the fact the Clyde was made less manfully.It is thusly quite interesting how the writers and music director presented the film the female is a firm character that dis dictationed very male characteristics (albeit in a very sexy way) while Clydes masculinity is put on a chopping block with his intimate impotence. Whether or not this inner incapability is close in terms of the real Clyde Barrow is irrelevant. What is significant here is the importance piece by the filmmakers in making Clyde less mascu withdraw or atleast what society perceives as masculine.Initially, the director suggested that Clydes character be homosexual but when Warren Beatty refused to play a homosexual man, they decided that impotence would give the same castrating effect to Clyde Barrow an effect that inevitably led to the masculinisation of Bonnie Parker. This castration of the main male character furthered strengthened Bonnies character. Furthermore, the other male characters are each dimwitted (C. W. Moss) or simpleminded and ignorant (Buck Barrow). It was as if the creative activity of the other male characters had for a goal to make Bonnie&8212and in consequence, women&8212look better and appear smarter.At this juncture, it would be quite interesting to ask oneself if Bonnie t ruly is a picture of female empowerment or is she merely a instance of making a woman more male? Bonnies character abide bys its anti-thesis in Blanche (Bucks wife). Blanche is the stereotypical female of the sixties. She is demure, conservative and relies on her husband for everything. Bucks chauvinistic comment&8212Its the face powder that gets a man interested its the bacon powder that keeps a man at home&8212paints simply two roles for women as housekeepers and as sexual objects.Bonnie breaks this mold and carves another role for herself&8212a partner. In many ways, Bonnie represents what women can be if only they dared and Blanche represents what they are. This dual credit rating&8212how things are and how they are not&8212gives familiar culture much of its strength, suggesting the way it whitethorn be drawn to occupy gaps in political, ideological and cultural systems and how the subordinated may play a negotiable space in which certain contradictions and repressed desir es are rehearsed. jibe to Arthur Penn, the films director, Violence is one of the most powerful themes in Bonnie and Clyde. The profound point is that crime and fury are interrelated that one can not exist without the other () at once the match of violence is lit, it has no choice but to burn until all combustible ends have been destroyed. This use of violence as a central concept in the film led to change in the film industry as a whole. Bonnie and Clyde are not depicted as the usual murderers.They are charming, beautiful and for all intents and purposes, are of a milled mode and as the tag line goes they are in love emphatically not the usual criminal sort. However, the film is interesting in its depiction of a criminal life as the earreach finds it increasingly difficult not to realise or root for the bad guys. level off though the odds are against it, we the audience, find ourselves wishing that the couple will make it out alive and perhaps puzzle old together an d leave the life of crime behind for an idyllic setting.But even Bonnies poem foreshadows their eventual(prenominal) fate. Someday theyll go down together theyll bury them side by side to few itll be grief to the impartiality a relief but its death for Bonnie and Clyde. Here the film gives us the moral of the story that if one lives by the sword, one dies by the sword. The attempt of the film to subjectify the criminal life was definitely successful and the message is clear not everything is black or white and good or bad.The audience is left with the smell that although the actions of Bonnie and Clyde cannot be condoned by any moral person, we can sympathize with their situation. This is indeed a powerful effect considering the murders and the stealth that occurred in the film. On the negative side, the film probably opened up a tradition of cinematic endeavors to treat murder and crime in a casual and non-chalant way. The criminals in this film are portrayed in such a manner that makes them icons and idols of sorts&8212which is actually twisted in a way.The iconography of the film, as examined by Mary Elizabeth Strunk in the American Studies Journal explains that. Yes, Bonnie and Clyde commit reckless acts of violence, but they look so good doing it. Against the films theatrical Depression-era backdrop, the couple becomes the embodiment of youth, romance, and yearning. By contrast, their victims scarce register, save as faded composition board cutouts lacking names or narrative. The camera affirms Bonnie and Clyde as the only active things on an otherwise inert and colorless landscape. Violence is not only the central theme of the movie but is also the anchor in which the personalities and characters of Bonnie and Clyde are based. The issues relating to identity are also profound themes for this film. For Bonnie, she knows that she is cut from a different textile altogether and would like to be remembered for cosmos different. Clyde, on the oth er hand, grappling with his internal demons (mostly, brought on by lack of sexual potency), thirsts to be remembered by many. For him, it does not seem to matter what he is remembered for, just as long as he is remembered.If one were to psycho-analyze this film, one might even say that it could have been Clydes sexual go that led him to a life of crime with the gun serving as a substitute for sex. This misplaced pride they both have in being acknowledge is clearly seen as they proudly read to each other what the newspapers have wrote about them&8212even if it is merely a history of the crimes they have done or notion to have done. Works Cited Internet mental picture Database. Bonnie and Clyde. Retrieved on May 11, 2008 from http//www.imdb. com/ designation/tt0061418/ Gledhill, C. (1986). Dialogue on Stella Dallas and Feminist motion-picture show Theory. Cinema Journal 25, No. 4 BOOKRAGS STAFF. Bonnie and Clyde Themes. 2000. May 12 2008. http//www. bookrags. com/films/bonniean dclyde1967/themes. hypertext mark-up language> Strunk, M. E. (2007). Bonnie and Clydes Other Side. American Studies Journal No. 50. Retrieved on 12 May 2008 from http//asjournal. zusas. uni-halle. de/85. html FLIPOUT E-ZINE. Women In Film. Retrieved 12 May 2008 from http//www. geocities. com/albanystudent/wif. html