Romance is dead... or should that be romance is deadly? A collection of three films featuring couples with homicidal tendencies. Bonnie And Clyde
Based on the true-life exploits of the notorious depression-era bank robbers Bonnie Parker and Clyde Barrow, Bonnie And Clyde
has become a part of popular American culture and is recognised as one of the most violent films to come out of mainstream Hollywood. Bonnie is bored with life and wants a change. She gets her chance when she meets a charming young drifter by the name of Clyde Barrow. Clyde has dreams of a life of crime, and freedom from the hardships of the depression. The two fall in love and soon begin a crime spree that extends from Oklahoma to Texas. They rob small banks with skill and panache, soon becoming minor celebrities known across the country. People are proud to have been held up by Bonnie and Clyde. To them the duo is doing what nobody else has the guts to do. To the law the two are evil bank robbers who deserve to be gunned down where they stand. Bonnie And Clyde
made a large impact on American culture, expressing the mood of rebellion rampant in the late 1960s and beyond. Natural Born Killers
Oliver Stone's over-the-top satire on America's worshipful fascination with tabloid criminals stars Woody Harrelson as Mickey Knox and Juliette Lewis as girlfriend-wife Mallory Wilson. Commencing with the dual murder of Mallory's sexually abusive father (Rodney Dangerfield) and grossly negligent mother (Edie McClurg), the anomic couple take off on a three-week killing spree across the country, telling everyone who they are so that they get the credit for their crimes. The media are immediately enthralled with the couple, especially Wayne Gale (Robert Downey Jr.), the bloodthirsty host of a tabloid TV show who follows their every move. By the time they're finally arrested, they've become such huge media stars that the cops treat them more like celebrities than criminals. Even the maniacal limelight-hogging warden of the Batongaville State Prison, Dwight McClusky (Tommy Lee Jones), is in awe. Stone pulls out all the stops in the prison riot, as the unwitting Gale becomes an unwilling participant in his own broadcast of the event. Again the director switches from film to video, from color to black and white, from sitcom parody to newsreel parody, and from one film stock to another, hoping to jar the audience out of its complacency with visual hyperbole. The Getaway
After the rugged rodeo drama Junior Bonner
, the impetuous Sam Peckinpah reteamed with Steve McQueen for this down-and-dirty heist picture. McQueen stars with his soon-to-be real-life bride Ali McGraw (with whom he fell in love during the film's production) as the beautiful, but dangerous, married couple Doc and Carol McCoy. After being released from prison--for reasons Doc would rather not acknowledge--Doc shacks up in a hotel with Carol to plot a small-town bank robbery. Of course, the heist doesn't go as smoothly as planned, resulting in an action-packed journey that sends the lovers on a reckless romp through the beautiful Texas landscape. Peckinpah's big screen adaptation of Jim Thompson's novel features the trademark qualities that helped to make him such an alternately reviled and revered figure: namely, his vision of a world in which even the good guys are bad guys. Lucien Ballard's gorgeous cinematography contrasts wonderfully with the gritty subject matter, lifting the potentially standard picture to a more artistic plateau. The chemistry between the incomparably cool McQueen and the magnetic McGraw also confirms The Getaway
's status as a defining film of the genre.