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13 Infamous Facts About Bonnie and Clyde

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Warner Bros. Home Entertainment

Clyde Barrow and Bonnie Parker were two of the most popular celebrity criminals of the 1930s (and they had a lot of competition in that decade). More than 30 years later, America fell in love with them all over again through Bonnie and Clyde, a zeitgeist-capturing movie that spoke to the dissatisfaction and unrest that people (especially young people) felt in 1967. And hey, it was the first major film appearance for Faye Dunaway, Gene Hackman, and Gene Wilder, and featured a future Duke of Hazzard (Denver Pyle, a.k.a. Uncle Jesse). On the 50th anniversary of its release, get to know your favorite movie about your favorite outlaws a little better with these behind-the-scenes tidbits. 

1. BEFORE IT WAS MADE IN THE STYLE OF THE FRENCH NEW WAVE FILMS, IT ALMOST WAS A FRENCH NEW WAVE FILM.

Like many young cinephiles of their day, Bonnie and Clyde's screenwriters, Robert Benton and David Newman, were enamored of the French New Wave, the influential movement that included films like The 400 Blows, Jules and Jim, and Breathless. These movies tended to have young, iconoclastic, sexually liberated protagonists and unhappy endings, making the true story of Bonnie and Clyde a perfect fit. Director Arthur Penn wound up using some of the New Wave's aesthetic techniques, too—like quick cuts, zooms, stylized photography, and abrupt changes in mood—making Bonnie and Clyde the first major American film to imitate the style. But before Penn came onboard, the screenwriters pursued two actual French New Wavers: François Truffaut (The 400 Blows) and Jean-Luc Godard (Breathless). Each filmmaker eventually passed on the project, but both offered suggestions that were incorporated into the final product. 

2. FAYE DUNAWAY'S STAR-MAKING PERFORMANCE ALMOST DIDN'T HAPPEN.

Warren Beatty, doing double duty as star and producer, and director Arthur Penn considered many other actresses first, including Tuesday Weld, Jane Fonda, Natalie Wood, Sharon Tate, Leslie Caron, and Ann-Margret. (Back when he was only producing it and not starring in it, Beatty had also considered his sister, Shirley MacLaine, for the role.) Beatty said they were turned down "by about 10 women," though he would later say Weld was the only one they made a firm offer to. When Beatty met Dunaway, he didn't think she was right for the part, but he told her to meet with Penn, who he thought would think she was perfect. Beatty was right. 

3. THE WRITERS HAD NO IDEA WHAT THEY WERE DOING.

Benton and Newman worked at Esquire (as editor and art director, respectively), and had no screenwriting experience whatsoever. But they loved the story of Bonnie and Clyde, which Benton, growing up in the Dallas area, had heard his entire life as part of local folklore. (Benton's father had actually attended Bonnie and Clyde's funeral in 1934.) Benton and Newman didn't have experience writing movies, but they did have a well-connected friend of a friend who put them in touch with the French filmmakers and offered some working capital. It was through these connections that the script fell into the hands of Warren Beatty, who immediately contacted them and set the project in motion. 

4. THE FIRST DRAFTS HAD CLYDE SWINGING BOTH WAYS.

Newman and Benton worked closely with Beatty and Penn in fine-tuning the screenplay, which all four men later described as a positive, low-conflict collaboration. The only major problem had to do with sex. Newman and Benton's version had Bonnie and Clyde having a threesome with C.W. Moss (Michael J. Pollard), a composite character based on several members of Bonnie and Clyde's gang, the idea being that Clyde couldn't perform without a third party. Beatty claimed he had no problem playing a bisexual character, but he and Penn were both concerned that the audience would view Clyde as a sexual deviant and ascribe his lawbreaking to that. But Penn thought the idea of there being some kind of sexual dysfunction in the group was important. Eventually the four collaborators settled on Clyde being impotent. 

5. WHATEVER YOU THINK THE FILM “REALLY” MEANS, YOU'RE PROBABLY WRONG.


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Some viewers interpreted Bonnie and Clyde as a commentary on other issues, but Newman and Benton said they didn't intend it that way. As they wrote in an introduction to a published version of their screenplay, "[People] have told us that Bonnie and Clyde was REALLY about Vietnam, REALLY about police brutality, REALLY about Lee Harvey Oswald, REALLY about Watts. After a while, we took to shrugging and saying, 'If you think so.'" 

6. THE STUDIO THOUGHT IT WAS GOING TO FLOP AND TREATED IT ACCORDINGLY.

Jack Warner, who measured films according to how well they convinced him not to leave the screening room to use the bathroom, hated Bonnie and Clyde. "That's the longest two hours and 11 minutes I've ever seen!" he reportedly said after seeing an early cut. "That was a three-piss picture!" (Also: "This gangster stuff went out with [James] Cagney!") Thinking they had a turkey on their hands, and despite a warm reception at a film festival in Montreal, Warner Bros. dumped the movie in drive-ins and second-run theaters in August of 1967.

7. THE STUDIO'S LACK OF FAITH MADE WARREN BEATTY VERY, VERY RICH.

Thinking the film wouldn't make any money, Warner Bros. offered Beatty a ridiculous deal: a $200,000 salary, plus 40 percent of the gross. Yes, 40 percent. Of the gross, not the net. The film made more than $50 million. 

8. MOVIE CRITICS KILLED THE FILM, THEN SAVED IT.

Warner Bros.' wariness was validated by the early reviews. Variety was lukewarm, and The New York Times' Bosley Crowther, then the most influential critic in America, hated it. HATED it. He wrote about it more than once, and would drop scathing references to it in reviews of other movies. To him, the film’s wanton violence represented everything that was wrong with modern cinema. (It's worth noting that Crowther was 62 years old and had been the Times' chief critic since 1940.)

Early box office reflected the bad reviews. But then came Pauline Kael, a vocal champion for the film who wrote 9000 words about it for The New Yorker. She was soon followed by Newsweek's Joseph Morgenstern, who gave the film a bad review, then retracted it a week later with a new, glowing appraisal. TIME magazine, which had also panned it, recanted and put the film on the cover of its December issue. Word began to spread. Warner Bros. re-released the film into more theaters and, by the end of 1967, it was on its way toward becoming one of the top-grossers of the year. It made most of its money, however, in early 1968, when Warner Bros. put it in wide release to take advantage of its 10 Oscar nominations. (Post-script: Bosley Crowther was removed as the Times' lead film critic in early 1968.)

9. IT TURNED AN OLD SONG INTO A NEW HIT.

Flatt & Scruggs' banjo-heavy bluegrass tune "Foggy Mountain Breakdown" serves as the film's theme music, even though it was recorded in 1949 and is anachronistic for a movie set in the 1930s. Even more anachronistic, though, is the fact that when the song was re-released in conjunction with the movie, it became a hit, reaching number 55 on the Billboard Hot 100 charts. It's now a standard in the bluegrass genre, and is often used in movies and TV when there's a chase scene set in a rural area. 

10. IT INSPIRED SONGWRITERS AS WELL AS FILMMAKERS.


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As Americans fell in love with Bonnie and Clyde the movie, they also became captivated by Bonnie and Clyde the outlaws, and the nation's troubadours took to the airwaves to sing about the tragic lovers. Merle Haggard, Georgie Fame, Serge Gainsbourg and Brigitte Bardot, Mel Tormé, and Bonnie's sister Billie Jean Parker all recorded new songs in the wake of the movie's success, and the aforementioned Flatt & Scruggs wrote an entire album.

11. IT INSPIRED A CLOTHING FAD, TOO.

Faye Dunaway's period costumes caught the attention of the fashion-minded, and soon berets (which hadn't been popular since the '30s) were back in vogue. The trend coincided with French designers wanting to move from mini-skirts to maxi-skirts, and gave women an appealing example of how great a maxi could look. 

12. THE CINEMATOGRAPHER QUIT MIDWAY THROUGH FILMING.

Burnett Guffey, a respected veteran in the industry who'd shot close to 100 movies and had served as president of the American Society of Cinematographers, was frequently at odds with Penn (who was fairly new to film) and with production designer Dean Tavoularis. Not only was Guffey older than most of the crew (he was born in 1905), but the "new Hollywood" visual style that Penn and Tavoularis wanted for the film didn't mesh with his old-school sensibilities.

After butting heads with the director one too many times, Guffey quit and was replaced by another old-timer, Ellsworth Fredericks. But this lasted only a few days, as Fredericks' competent-but-uninspired work made Penn realize how hard Guffey had been trying to capture his vision. He wooed Guffey back to finish the film, for which Guffey would win his second Oscar. 

13. IT CONTAINS A REFERENCE TO THE ASSASSINATION OF JOHN F. KENNEDY.

When Bonnie and Clyde are pumped full of lead in the film's bloody climax, you can see a fragment of Clyde's scalp flying off. Penn and editor Dede Allen both confirmed that this was a deliberate reference to the Zapruder film of JFK's death, which had happened in Dallas, not far from where Bonnie and Clyde grew up.

Additional sources:
Pictures at a Revolution: Five Movies and the Birth of the New Hollywood, by Mark Harris

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11 Single Facts About Bridget Jones’s Diary
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While it's not officially a holiday movie, so much of the action in Bridget Jones's Diary happens around the most wonderful time of the year that the rom-com has become essential wintertime viewing for many movie fans. Based on Helen Fielding’s novel of the same name, it tells the story of a very single, and hopelessly romantic, working professional named Bridget (Renée Zellweger) who is determined to improve her love life. Enter two strapping gentlemen (Colin Firth and Hugh Grant) to vie for her heart. Get to know more about the timeless dramedy that’s been delighting audiences since 2001. Just as it is.

1. THE SOURCE NOVEL CAME ABOUT FROM AN ANONYMOUS COLUMN ABOUT SINGLE LIFE.

In the foreword of Bridget Jones’s Diary, author Helen Fielding wrote about how she came to conjure up the story: “The Independent asked me to write a column, as myself, about single life in London. Much as I needed the money, the idea of writing about myself in that way seemed hopelessly embarrassing and revealing. I offered to write an anonymous column instead, using an exaggerated, comic, fictional character. I assumed no one would read it, and it would be dropped after six weeks for being too silly.”

2. SEVERAL CHARACTERS ARE BASED ON PEOPLE IN HELEN FIELDING’S LIFE.


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These include Jude (Tracey MacLeod) and Shazzer (Sharon Maguire, also the film’s director). In a column for the Evening Standard, MacLeod described how she didn’t even realize she inspired part of her best friend’s story until Fielding’s book launch party. “At the launch party for the first Bridget book, I was cornered by a smug married friend, ‘So ... what's it like being Jude?’ she asked,” MacLeod writes. “I was outraged. Of course I wasn't Jude, with her self-help books and horrible boyfriend. My boyfriend wasn't anything like Vile Richard ... But as more people began to believe that Jude and Shazzer were thinly-veiled portraits of myself and Sharon, I secretly got to like the idea.”

3. TONI COLLETTE DECLINED THE LEAD, AND KATE WINSLET WAS CONSIDERED FOR IT.

Before Zellweger stole the show, Aussie Toni Collette and Brit Kate Winslet were up for the part. According to AMC, “Toni Collette declined the role because she was on Broadway starring in The Wild Party at the time, and Kate Winslet was considered but the producers decided she was too young.”

4. HUGH GRANT ONLY SIGNED ON WHEN RICHARD CURTIS WAS ANNOUNCED AS THE WRITER. 


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“The only reason [I was a hard sell] was because I didn't feel they had the script quite right for a long time,” Firth told Cinema.com. “And I kept saying, ‘It's not working. Just get Richard Curtis to come in and help rewrite it.’ Eventually they did, and as soon as Richard came on board, I signed on the dotted line. So that's all it was.”

5. RENÉE ZELLWEGER GAINED 17 POUNDS FOR THE PART.

Zellweger’s weight gain for the role had the media abuzz for a while. According to The Guardian, “In order to play the eponymous heroine in the film adaptation of Fielding's bestseller, the actress gained 17 pounds, consulting a dietitian and endocrinologist who devised a regime of three full meals a day, multiple snacks, and no exercise.”

6. ZELLWEGER WORKED AT PICADOR FOR THREE WEEKS.

Zellweger went full Method for her iconic role, and became a temporary employee of the Picador publishing house. “We came up with a plan: she would be Bridget Cavendish, Bridget for obvious reasons and Cavendish as she was to be passed off as the sister of Jonathan Cavendish, a friend of one of our company chairmen,” Picador publicist Camilla Elworthy told The Guardian. “That last bit at least is true, and no one was to know that Jonathan Cavendish was one of the film's producers.”

7. ZELLWEGER KEPT A PHOTO OF JIM CARREY ON HER DESK.


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While working at Picador, Zellweger kept a picture of Jim Carrey on her desk—which made her alter ego Bridget Cavendish seem like some sort of obsessed fan. “Under the name Bridget Cavendish, she answered phones, served coffee, and made photocopies—without being recognized by any of her co-workers, who offered career advice and wondered privately why she kept a photo of Jim Carrey (her then-boyfriend) on her desk,” noted Hollywood.com.

8. ZELLWEGER INVITED HER BOSS AT PICADOR TO BE AN EXTRA ON SET.

In Camilla Elworthy’s write-up for The Guardian, she noted how she became a part of the production. “Renée sent me a thank you letter and gift after she'd gone and I have seen her a few times since then," Elworthy wrote. "She invited me on to the film set one day. She informed me that I had to stick around and be an extra and made sure that I was put somewhere that I would be seen ... As a result, half my head can be seen for half a nano-second in the launch party scene.”

9. THE EPIC FIGHT SCENE BETWEEN GRANT AND COLIN FIRTH WASN’T CHOREOGRAPHED.

You can thank the two actors for the hilarity of the iconic scene. In a Vulture article about the greatest fight scenes in movie history, writer Denise Martin recalled the improvised spar, writing, “No stunt coordinators. No elaborate choreography. Just a perfectly realized wimp brawl between two upper-middle-class Englishmen coming to awkward fisticuffs in front of a Greek restaurant.”

10. FIELDING ASKED FRIEND SALMAN RUSHDIE TO CAMEO IN THE FILM.

Recalling how he came to be part of the film, famed novelist Salman Rushdie told Texas Monthly, “Helen Fielding, the author of the book, is an old pal of mine, and she asked if I’d come along and make a fool of myself, and I said, ‘Why not?’”

11. GRANT DIDN’T HEAR ZELLWEGER SPEAK IN HER AMERICAN ACCENT UNTIL THE FILM’S WRAP PARTY.

Zellweger was so engrossed with Bridget Jones that one of her leading love interests didn’t meet the real actress until the end of the shoot. “Not once did she stop speaking with that accent, until the wrap party,” Grant told Cinema.com, “when suddenly this weird ... Texan appeared. I wanted to call security, I didn't know who the f*ck she was!”

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15 Surprising Facts About Scarface
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Universal Home Video

Say hello to our little list. Here are a few facts to break out at your next screening of Scarface, Brian De Palma’s gangsters-and-cocaine classic, which arrived in theaters on this day in 1983.

1. IT WASN'T THE FIRST SCARFACE.

Brian De Palma's Scarface is a loose remake of the 1932 movie of the same name, which is also about the rise and fall of an American immigrant gangster. The producer of the 1983 version, Martin Bregman, saw the original on late night TV and thought the idea could be modernized—though it still pays respect to the original film. De Palma's flick is dedicated to the original film’s director, Howard Hawks, and screenwriter, Ben Hecht.

2. IT COULD HAVE BEEN A SIDNEY LUMET FILM.

At one point in the film's production, Sidney Lumet—the socially conscious director of such classics as Dog Day Afternoon and 12 Angry Men—was brought on as its director. "Sidney Lumet came up with the idea of what's happening today in Miami, and it inspired Bregman," Pacino told Empire Magazine. "He and Oliver Stone got together and produced a script that had a lot of energy and was very well written. Oliver Stone was writing about stuff that was touching on things that were going on in the world, he was in touch with that energy and that rage and that underbelly."

3. OLIVER STONE WASN'T INTERESTED IN WRITING THE SCRIPT, UNTIL LUMET GOT INVOLVED.


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Producer Bregman offered relative newcomer Oliver Stone a chance to overhaul the screenplay, but Stone—who was still reeling from the box office disappointment of his film, The Hand—wasn't interested. "I didn’t like the original movie that much," Stone told Creative Screenwriting. "It didn’t really hit me at all and I had no desire to make another Italian gangster picture because so many had been done so well, there would be no point to it. The origin of it, according to Marty Bregman, [was that] Al had seen the '30s version on television, he loved it and expressed to Marty as his long time mentor/partner that he’d like to do a role like that. So Marty presented it to me and I had no interest in doing a period piece."

But when Bregman contacted Stone again about the project later, his opinion changed. "Sidney Lumet had stepped into the deal," Stone said. "Sidney had a great idea to take the 1930s American prohibition gangster movie and make it into a modern immigrant gangster movie dealing with the same problems that we had then, that we’re prohibiting drugs instead of alcohol. There’s a prohibition against drugs that’s created the same criminal class as (prohibition of alcohol) created the Mafia. It was a remarkable idea."

4. UNFORTUNATELY, ACCORDING TO STONE, LUMET HATED HIS SCRIPT.

While the chance to work with Lumet was part of what lured Stone to the project, it was his script that ultimately led to the director's departure from the film. According to Stone: "Sidney Lumet hated my script. I don’t know if he’d say that in public himself, I sound like a petulant screenwriter saying that, I’d rather not say that word. Let me say that Sidney did not understand my script, whereas Bregman wanted to continue in that direction with Al."

5. STONE HAD FIRSTHAND EXPERIENCE WITH THE SUBJECT MATTER.

In order to create the most accurate picture possible, Stone spent time in Florida and the Caribbean interviewing people on both sides of the law for research. "It got hairy," Stone admitted of the research process. "It gave me all this color. I wanted to do a sun-drenched, tropical Third World gangster, cigar, sexy Miami movie."

Unfortunately, while penning the screenplay, Stone was also dealing with his own cocaine habit, which gave him an insight into what the drug can do to users. Stone actually tried to kick his habit by leaving the country to complete the script so he could be far away from his access to the drug.

"I moved to Paris and got out of the cocaine world too because that was another problem for me," he said. "I was doing coke at the time, and I really regretted it. I got into a habit of it and I was an addictive personality. I did it, not to an extreme or to a place where I was as destructive as some people, but certainly to where I was going stale mentally. I moved out of L.A. with my wife at the time and moved back to France to try and get into another world and see the world differently. And I wrote the script totally f***ing cold sober."

6. BRIAN DE PALMA DIDN'T WANT TO AUDITION MICHELLE PFEIFFER.


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De Palma was hesitant to audition the relatively untested Pfeiffer because at the time she was best known for the box office bomb Grease 2. Glenn Close, Geena Davis, Carrie Fisher, Kelly McGillis, Sharon Stone and Sigourney Weaver were all considered for the role of Elvira, but Bregman pushed for Pfeiffer to audition and she got the part.

7. YES, THERE IS A LOT OF SWEARING.

According to the Family Media Guide, which monitors profanity, sexual content, and violence in movies, Scarface features 207 uses of the “F” word, which works out to about 1.21 F-bombs per minute. In 2014, Martin Scorsese more than doubled that with a record-setting 506 F-bombs thrown in The Wolf of Wall Street.

8. TONY MONTANA WAS NAMED FOR A FOOTBALL STAR.

Stone, who was a San Francisco 49ers fan, named the character of Tony Montana after Joe Montana, his favorite football player.

9. TONY IS ONLY REFERRED TO AS "SCARFACE" ONCE, AND IT'S IN SPANISH.

Hector, the Colombian gangster who threatens Tony with the chainsaw, refers to Tony as “cara cicatriz,” meaning “scar face” in Spanish.

That chainsaw scene, by the way, was based on a real incident. To research the movie, Stone embedded himself with Miami law enforcement and based the infamous chainsaw sequence on a gangland story he heard from the Miami-Dade County police.

10. VERY LITTLE OF THE FILM WAS ACTUALLY SHOT IN MIAMI.

The film was originally going to be shot entirely on location in Miami, but protests by the local Cuban-American community forced the movie to leave Miami two weeks into production. Besides footage from those two weeks, the rest of the movie was shot in Los Angeles, New York, and Santa Barbara.

11. ALL THAT "COCAINE" LED TO PROBLEMS WITH PACINO'S NASAL PASSAGES.

Though there has long been a myth that Pacino snorted real cocaine on camera for Scarface, the "cocaine" used in the movie was supposedly powdered milk (even if De Palma has never officially stated what the crew used as a drug stand-in). But just because it wasn't real doesn't mean that it didn't create problems for Pacino's nasal passages. "For years after, I have had things up in there," Pacino said in 2015. "I don't know what happened to my nose, but it's changed."

12. PACINO'S NOSE WASN'T HIS ONLY BODY PART TO SUFFER DAMAGE.

Still of Al Pacino as Tony Montana in 'Scarface' (1983)
Universal Home Video

In the film's very bloody conclusion, Montana famously asks the assailants who've invaded his home to "say hello to my little friend," which happens to be a very large gun. That gun took a beating from all the blanks it had to fire, so much so that Pacino ended up burning his hand on its barrel. "My hand stuck to that sucker," he said. Ultimately, the actor—and his bandaged hands—had to sit out some of the action in the last few weeks of production.

13. STEVEN SPIELBERG DIRECTED A SINGLE SHOT.

De Palma and Spielberg had been friends since the two began making studio movies in the mid-1970s, and they made a habit of visiting each other’s sets. Spielberg was on hand for one of the days of shooting the Colombians’ initial attack on Tony Montana’s house at the end of the movie, so De Palma let Spielberg direct the low-angle shot where the attackers first enter the house.

14. SOME COOL TECHNOLOGY WENT INTO THE GUN MUZZLE FLASHES.

In order to heighten the severity of the gunfire, De Palma and the special effects coordinators created a mechanism to synchronize the gunfire with the open shutter on the movie camera to show the huge muzzle flash coming from the guns in the final shootout.

15. SADDAM HUSSEIN WAS A FAN OF THE FILM.

The trust fund the former Iraqi dictator set up to launder money was called “Montana Management,” a nod to the company Tony uses to launder money in the movie.

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