Last Sunday the New York Times reminded us that Bonnie and Clyde, a film seared behind the eyelids of people like me, is 40 years old. I remember it particularly because just after I saw it, I went to a 21st birthday dinner for a friend at her uncle’s home on Park Avenue in Manhattan. I was new to such places then, and, despite my anti-war lefty politics, both thrilled and intimidated – particularly because her uncle was a writer of some renown. For a college senior, it was another experience milestone.
Along with most of adult America, our host had been appalled at the violence of the film. We, on the other hand, argued that the film was an accurate metaphor for the violence in Vietnam; a social comment that spoke deeply to all of us. The argument was long, fierce and audacious — and, of course, unresolved. I haven’t seen the film in many years and am curious how I would react.
I’ve become a lot more sensitive to visual violence as I’ve raised my sons. Beverly Hills Cop was released when my younger son was five. His big brother was nine and really wanted to see it; since we hated leaving Dan behind, he came too. Do you remember the ending? It was a gun battle too but multiples more gory and violent than Bonnie and Clyde ever dreamt of being. The worst part? My son was upset, yes, but the audience barely reacted – and many cheered. Film and TV violence in the years between 1967 and 1984 had escalated slowly, right in front of us – and we had barely noticed. That progression has continued.
It’s a creepy dilemma. I’m a true romantic who revels in love stories like Bull Durham (1988) and Shakespeare in Love (1998), oldies like Now, Voyager (1942) and two I’ve written about before, The Ghost and Mrs. Muir (1947)and Rebbecca (1940) as well as decade-old satires like Wag the Dog (1997)and Warren Beatty’s (aka Clyde’s) masterpiece Bulworth (1998). But another of my favorite films is Pulp Fiction (1994)- steeped in violence, much of it random. Silence of the Lambs, too. And of course, The Godfather Trilogy (1972, 1974, 1990) None of these, and other more "realistically violent" films, would have been possible before Arthur Penn brought Bonnie and Clyde to life.
My protective instincts as a mother and activist clash with my respect for the vision of the artist and the gifts those visions can bring to the rest of us. This isn’t a new conversation of course, any more than it was new in 1967. It’s been going on as long as artists have. What’s different this time is that I was a kid when Bonnie and Clyde slammed into our lives; now I’m at least the age of that angry uncle. I know a lot more and that colors how I look at things I don’t know.
I named this blog Don’t Gel Too Soon because I struggle to stay open – available to understand, to appreciate, that which comes next, and to remember that no matter how lovely the lovely there’s more to life than that. And that, after all, if someone doesn’t help us to see it, we can’t join together to change it.
