13 Infamous Facts About Bonnie and Clyde

Warner Bros. Home Entertainment
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). 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.

Warner Bros. Home Entertainment

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. Film 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.

Warner Bros. Home Entertainment

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 fashion 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 John F. Kennedy's assassination.

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

This article originally ran in 2016.

Looking to Downsize? You Can Buy a 5-Room DIY Cabin on Amazon for Less Than $33,000

Five rooms of one's own.
Five rooms of one's own.
Allwood/Amazon

If you’ve already mastered DIY houses for birds and dogs, maybe it’s time you built one for yourself.

As Simplemost reports, there are a number of house kits that you can order on Amazon, and the Allwood Avalon Cabin Kit is one of the quaintest—and, at $32,990, most affordable—options. The 540-square-foot structure has enough space for a kitchen, a bathroom, a bedroom, and a sitting room—and there’s an additional 218-square-foot loft with the potential to be the coziest reading nook of all time.

You can opt for three larger rooms if you're willing to skip the kitchen and bathroom.Allwood/Amazon

The construction process might not be a great idea for someone who’s never picked up a hammer, but you don’t need an architectural degree to tackle it. Step-by-step instructions and all materials are included, so it’s a little like a high-level IKEA project. According to the Amazon listing, it takes two adults about a week to complete. Since the Nordic wood walls are reinforced with steel rods, the house can withstand winds up to 120 mph, and you can pay an extra $1000 to upgrade from double-glass windows and doors to triple-glass for added fortification.

Sadly, the cool ceiling lamp is not included.Allwood/Amazon

Though everything you need for the shell of the house comes in the kit, you will need to purchase whatever goes inside it: toilet, shower, sink, stove, insulation, and all other furnishings. You can also customize the blueprint to fit your own plans for the space; maybe, for example, you’re going to use the house as a small event venue, and you’d rather have two or three large, airy rooms and no kitchen or bedroom.

Intrigued? Find out more here.

[h/t Simplemost]

This article contains affiliate links to products selected by our editors. Mental Floss may receive a commission for purchases made through these links.

The 10 Best Shark Movies of All Time, According to Rotten Tomatoes

MCA/Universal Home Video
MCA/Universal Home Video

If the ongoing popularity of shark films has taught us anything, it’s that we simply can’t spend enough screen time with these predators, who can famously ruin a beach day with one swift gnash of their teeth. And even if shark attacks are far less common than Hollywood would have us believe, it’s still entertaining to watch a great white stalk an unsuspecting fictional swimmer—or, in the case of 2013’s Sharknado, whirl through the air in a terrifying cyclone.

To celebrate Shark Week this week, Rotten Tomatoes has compiled a list of the best shark movies of all time, ranked by aggregated critics' score. Unsurprisingly topping the list is Steven Spielberg’s 1975 classic Jaws, which quite possibly ignited our societal fixation on great white sharks. The second-place finisher was 2012’s Kon-Tiki, based on the true story of Norwegian explorer Thor Heyerdahl’s harrowing voyage across the Pacific Ocean on a wooden raft in 1947.

If you did happen to write off Sharknado as too kitschy to be worth the watch, you might want to reconsider—it ranks sixth on the list, with a score of 78 percent, and its 2014 sequel sits in ninth place, with 61 percent. The list doesn’t only comprise dramatized shark attacks. In seventh place is Jean-Michel Cousteau’s 2005 documentary Sharks 3D, a fascinating foray into the real world of great whites, hammerheads, and more.

But for every critically acclaimed shark flick, there’s another that flopped spectacularly. After you’ve perused the highest-rated shark films below, check out the worst ones on Rotten Tomatoes’ full list here.

  1. Jaws (1975) // 98 percent
  1. Kon-Tiki (2012) // 81 percent
  1. The Reef (2010) // 80 percent
  1. Sharkwater (2007) // 79 percent
  1. The Shallows (2016) // 78 percent
  1. Sharknado (2013) // 78 percent
  1. Sharks 3D (2004) // 75 percent
  1. Open Water (2004) // 71 percent
  1. Sharknado 2: The Second One (2014) // 61 percent
  1. Jaws 2 (1978) // 60 percent

[h/t Rotten Tomatoes]