DOCSLIB.ORG

Arthur Penn from Wikipedia, the Free Encyclopedia for Other People Named Arthur Penn, See Arthur Penn (Disambiguation)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Arthur Penn from Wikipedia, the Free Encyclopedia for Other People Named Arthur Penn, See Arthur Penn (Disambiguation) Arthur Penn From Wikipedia, the free encyclopedia For other people named Arthur Penn, see Arthur Penn (disambiguation). This article possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (February 2014) This article needs additional citations for verification. Please help improve this article byadding citations to reliable sources. Unsourced material may be challenged and removed.(September 2010) Arthur Penn Born Arthur Hiller Penn September 27, 1922 Philadelphia, Pennsylvania, United States Died September 28, 2010 (aged 88) New York City, United States Occupation Film director, producer Spouse(s) Peggy Maurer (1955–2010; his death) Children Matthew Penn, Molly Penn Arthur Hiller Penn (September 27, 1922 – September 28, 2010)[1] was an American director and producer of film, television and theater. Penn directed critically acclaimed films throughout the 1960s such as the drama The Chase (1966), the biographical crime filmBonnie and Clyde (1967) and the comedy Alice's Restaurant (1969). He also got attention for his revisionist Western Little Big Man (1970). By the mid-1970s his films were received with much less enthusiasm. In the 1990s he returned to stage and television direction and production, including an executive producer role for the crime series Law & Order.[2] Contents [hide] 1 Early years 2 Career 3 Personal life 4 Work o 4.1 Filmography o 4.2 Stage 5 See also 6 References 7 External links Early years[edit] Penn was born in Philadelphia, Pennsylvania, the son of Sonia (Greenberg), a nurse, and Harry Penn, a watchmaker.[3] He was the younger brother of Irving Penn, the successful fashion photographer. During the 1920s, he moved in with his mother after she divorced Penn's father. Some time after, he came back to his sickly father, leading him to run his father's watch repair shop. At 19 he was drafted into the army. Stationed in Britain, he became interested in theater. He started to direct and take part in shows being put on for the soldiers around England at the time. As Penn grew up, he became increasingly interested in film, especially after seeing the Orson Welles film Citizen Kane.[citation needed] He later attended Black Mountain College in North Carolina, and was a featured commentator in the documentary Fully Awake about the college.[4] Career[edit] After making a name for himself as a director of quality television dramas, Penn made his feature debut with a western, The Left Handed Gun (1958) for Warner Brothers. A retelling of the Billy the Kid legend, it was distinguished by Paul Newman's sharp portrayal of the outlaw as a psychologically troubled youth (the role was originally intended for the archetypal portrayer of troubled teens, James Dean).[citation needed] The production was completed in only 23 days, but Warner Brothers reedited the film against his wishes with a new ending he disapproved of. The film subsequently failed upon release in North America, but was well received in Europe.[5] Penn's second film was The Miracle Worker (1962), the story of Anne Sullivan's struggle to teach the blind and deaf Helen Keller how to communicate. It garnered two Academy Awards for its leads Anne Bancroft and Patty Duke. Penn had won a Tony Award for directing the stage production, written by William Gibson, also starring Bancroft and Duke,[6] and he had directed Bancroft's Broadway debut in playwright Gibson's first Broadway production, Two for the Seesaw.[citation needed] In 1965 Penn directed Mickey One. Heavily influenced by the French New Wave, it was the dreamlike story of a standup comedian (played by Warren Beatty) on the run from sinister, ambiguous forces. In 2010, Penn commented: "You know, you could not have gone through theSecond World War with all that nonsense with Russia being an ally and then being the big black monster. It was an absurd time. TheMcCarthy period was ridiculous and humiliating, deeply humiliating. When I finally did 'Mickey One', it was in repudiation of the kind of fear that overtook free people to the point where they were telling on each other and afraid to speak out. It just astonished me, really astonished me. I mean, I was a vet, so it was nothing like what we thought we were fighting for."[7] Penn's next film was The Chase (1966) a thriller following events in a small corrupt Southern town on the day an escaped convict, played by Robert Redford, returns. Although not a major success, The Chase nonetheless caught the mood of the turbulent times, a 'state of the nation' tale of racism, corruption and the violence endemic in American society.[citation needed] Reuniting with Warren Beatty for the rural gangster film Bonnie and Clyde (1967), Penn once again showed that he had his finger on the pulse of the zeitgeist, perfectly catching the youthful disenchantment of the late '60s. Although set 30 years earlier, during the Depression, it was very much in the spirit of the contemporaneous "counter-culture". Bonnie and Clyde went on to become a worldwide phenomenon, at the same time pushing the limits of acceptable screen violence with its bloody machine-gun climax (two years before Sam Peckinpah'sThe Wild Bunch).[citation needed] The film was strongly influenced by the French New Wave and itself went on to make a huge impression on a younger generation of filmmakers. Indeed, there was a strong resurgence in the "love on the run" subgenre in the wake of Bonnie and Clyde, peaking with Badlands (1973; in which Penn received acknowledgement in the credits). Next came Alice's Restaurant (1969), based on a satirical ballad by Arlo Guthrie. His next film after this was a return to the western genre,Little Big Man (1970), a "shaggy dog" account of the life of a white man (played by Dustin Hoffman) who gets adopted into the Cheyennetribe. In 1973 Penn provided a segment for a promotional film for the Olympics, Visions of Eight along with several other major directors such asJohn Schlesinger and Miloš Forman. His next film was a paranoid thriller set in Los Angeles, Night Moves (1975) about a private detective (played by Gene Hackman) on the trail of a runaway. Next came a comic western, The Missouri Breaks (1976), a ramshackle, eccentric story of a horse thief (Jack Nicholson) facing off with an eccentric bounty hunter (played by Marlon Brando). In the 1980s, Penn's career began to lose its momentum with critics and audiences: Four Friends (1981) was a traumatic look back at the Sixties, returning to the old themes of Vietnam, civil rights, sexual politics, and drugs. Next came Target (1985), a mainstream thriller reuniting the director with Gene Hackman, and Dead of Winter (1987) was a horror/thriller in the style of Alfred Hitchcock, which he took over directing during production.[8] Subsequently, Penn returned to work in television, including an executive producer role for the crime series Law & Order. Throughout the years, Penn had maintained an affiliation with Yale University, occasionally teaching classes there.[9] Personal life[edit] In 1955, he married Peggy Maurer. They had two children, a son, Matthew Penn and a daughter, Molly Penn. In July 2009, Penn was hospitalized with pneumonia.[10] In July 2010, Penn reflected on his life and career, including his relationship withAlger Hiss: ...During that period [Mickey One] I met Alger Hiss, and we became very close friends. In fact, Alger got married here in my apartment. And so I became more of a student of the Hiss period than I knew what to do with, frankly.[7] Penn died in Manhattan, on September 28, 2010, a day after his 88th birthday from congestive heart failure.[1] He is survived by his two children, Molly and Matthew. Work[edit] Filmography[edit] Stage[edit] The Left Handed Gun (1958) Two for the Seesaw (1958) The Miracle Worker (1962) The Miracle Worker (1959) Mickey One (1965) An Evening With Mike Nichols and Elaine May The Chase (1966) All the Way Home (1960) Bonnie and Clyde (1967) Toys in the Attic (1960) Flesh and Blood (1968) Golden Boy (1964) Alice's Restaurant (1969) Wait Until Dark (1966) Little Big Man (1970) Sly Fox (1976) Visions of Eight (documentary) (segment The Hightest) (1973) Who's Afraid of Virginia Woolf? (2000) Night Moves (1975) Fortune's Fool (2002) The Missouri Breaks (1976) Four Friends (1981) Target (1985) Dead of Winter (1987) Penn & Teller Get Killed (1989) The Portrait – Television film (1993) Inside – Television film (1996) See also[edit] Biography portal Sally Pierone References[edit] 1. ^ Jump up to: a b Dave Kehr (September 29, 2010). "Arthur Penn, Director of 'Bonnie and Clyde,' Dies". The New York Times. Archived from the original on October 2, 2010. Retrieved September 29, 2010. 2. Jump up ^ Whitaker, Sheila (September 29, 2010). "Arthur Penn Obituary". The Guardian (London). 3. Jump up ^ "Arthur Penn Biography". filmreference. 2010. Archived from the original on October 2, 2010. Retrieved September 29, 2010. 4. Jump up ^ "Ashley" (October 5, 2010). "Arthur Penn and Black Mountain College". 5. Jump up ^ Harris, Mark (2008). Pictures at a Revolution: Five Films and the Birth of the New Hollywood. Penguin Press. p. 17. 6. Jump up ^ The 1960 Tony Awards 7. ^ Jump up to: a b Gregory Zucker; Robert White (August 2010). "Radical Reflection Arthur Penn, In Conversation with Gregory Zucker and Robert White".Brooklyn Rail. Retrieved September 29, 2010. 8. Jump up ^ Nat Segaloff (2011). Arthur Penn: American Director. University Press of Kentucky. ISBN 9780813129815. 9. Jump up ^ Bernard Weinraub (August 24, 2000). "Rare Vote for Experience Over Youth".
Load more

Recommended publications
  • Arthur Hiller
    ---~. R+E+ P+O+R+T YOlUm( G ISSU( ~ fHll 1994 • • • OHmn YHnHffS • • • FILM CAST REUNITES AT ACADEMY Story Page 6 en m 1 Thru October 16 - Fourth Floor Gallery: FROM THE PRESIDENT FILMSCAPES: SPIELBERG, ZEMECKIS AND THE ART OF MAKING AWORLD - a mojor exhib~ i on featuring art created or collected by Production Designer Rick Corter from the fllm worlds of Steven Spielberg and Robert Zemeckis. ey, there's more to the Academy Apre ­ produllion drawing than the Academy Awards. from BACK TOTlt E Our Awards are so prestigious and world-acclaimed that FUTUIE Pm II they sometimes tend to blind the public to the wonderful pro­ grams we do all year, as we ll as to the glories of our Center Sunday, September 4 - Auditorium Michel d'On.-o, for Motion Picture Study. Deauville, FrlllKe: Atribute to Hollywood and World War \I So I'm deputizing all of you : let's get the word out wher­ followed by a week of screenings of World War \I Hollywood ever we can - in interviews, in seminars, in teaching, in just features, shorts and dIKumentories ut the Deauville Film talking to friends and in responding to all those people who Festival. Participants will include Maureen O'Hara, Von stop you with "Oh, just one question ." Johnson, Moxene Andrews, Roddy McDowall and Arthur Hiller. Speaking, or should I say writing , about the Center, may I Friday, September 16 - 8 p.m., quote our brochure: "Housed in the old Beverly Hills Waterworks Buil ding, SOIIIUel GaldW'fll Theater - Academy Standard Screening: this world-class research and preservation facil ity contains the Margaret THE PRIMEOF MISS JEAN BRODIE and GOOOBYI MR_CHIPS .
    [Show full text]
  • Film I-Spring 2020 Plague Work Unit: New Hollywood Just Like We Did
    Film I-Spring 2020 Plague Work Unit: New Hollywood Just like we did with the French New Wave, we’re going to try to take a look at one more film movement this year: the New Hollywood movement. 1. What is New Hollywood? Watch the following mini documentary online explaining the direct line from Italian Neorealism to the French New Wave to New Hollywood to modern independent cinema: https://www.youtube.com/watch?v=opQC45irmN8 2. Watching a New Hollywood film Watch the film The Graduate from 1967 directed by Mike Nichols. It can be watched or downloaded at: https://stlps- my.sharepoint.com/:v:/g/personal/jchamber4910_slps_org/EWjwYfyTA8xBkOkD_n2OGBcBI 9ifHOVw2AM0GT2T4N6qTQ?e=5IysPU 3. Writing comparatively You have two options! Do either one of the following two: Option 1: Choose any other American film made since 1967 that you can use to do a comparative study with The Graduate. This might be a film that shares themes with The Graduate or shows similar stylistic choices or one that you can analyze through a similar lens. Use that main area that they share to analyze the two films in comparison with each other. The final product should be two pages typed and should be uploaded to TurnItIn by Friday, May 15th. or Option 2: Watch Bonnie and Clyde from 1967 directed by Arthur Penn. The Graduate and Bonnie and Clyde were made at roughly the same time. Analyze them both in comparison with each other, both in terms of style and filmmaking choices and in terms of historical/sociocultural context and how they reflect the United States in the late 1960s.
    [Show full text]
  • (#) Indicates That This Book Is Available As Ebook Or E
    ADAMS, ELLERY 11.Indigo Dying 6. The Darling Dahlias and Books by the Bay Mystery 12.A Dilly of a Death the Eleven O'Clock 1. A Killer Plot* 13.Dead Man's Bones Lady 2. A Deadly Cliché 14.Bleeding Hearts 7. The Unlucky Clover 3. The Last Word 15.Spanish Dagger 8. The Poinsettia Puzzle 4. Written in Stone* 16.Nightshade 9. The Voodoo Lily 5. Poisoned Prose* 17.Wormwood 6. Lethal Letters* 18.Holly Blues ALEXANDER, TASHA 7. Writing All Wrongs* 19.Mourning Gloria Lady Emily Ashton Charmed Pie Shoppe 20.Cat's Claw 1. And Only to Deceive Mystery 21.Widow's Tears 2. A Poisoned Season* 1. Pies and Prejudice* 22.Death Come Quickly 3. A Fatal Waltz* 2. Peach Pies and Alibis* 23.Bittersweet 4. Tears of Pearl* 3. Pecan Pies and 24.Blood Orange 5. Dangerous to Know* Homicides* 25.The Mystery of the Lost 6. A Crimson Warning* 4. Lemon Pies and Little Cezanne* 7. Death in the Floating White Lies Cottage Tales of Beatrix City* 5. Breach of Crust* Potter 8. Behind the Shattered 1. The Tale of Hill Top Glass* ADDISON, ESME Farm 9. The Counterfeit Enchanted Bay Mystery 2. The Tale of Holly How Heiress* 1. A Spell of Trouble 3. The Tale of Cuckoo 10.The Adventuress Brow Wood 11.A Terrible Beauty ALAN, ISABELLA 4. The Tale of Hawthorn 12.Death in St. Petersburg Amish Quilt Shop House 1. Murder, Simply Stitched 5. The Tale of Briar Bank ALLAN, BARBARA 2. Murder, Plain and 6. The Tale of Applebeck Trash 'n' Treasures Simple Orchard Mystery 3.
    [Show full text]
  • The New Hollywood Films
    The New Hollywood Films The following is a chronological list of those films that are generally considered to be "New Hollywood" productions. Shadows (1959) d John Cassavetes First independent American Film. Who's Afraid of Virginia Woolf? (1966) d. Mike Nichols Bonnie and Clyde (1967) d. Arthur Penn The Graduate (1967) d. Mike Nichols In Cold Blood (1967) d. Richard Brooks The Dirty Dozen (1967) d. Robert Aldrich Dont Look Back (1967) d. D.A. Pennebaker Point Blank (1967) d. John Boorman Coogan's Bluff (1968) – d. Don Siegel Greetings (1968) d. Brian De Palma 2001: A Space Odyssey (1968) d. Stanley Kubrick Planet of the Apes (1968) d. Franklin J. Schaffner Petulia (1968) d. Richard Lester Rosemary's Baby (1968) – d. Roman Polanski The Producers (1968) d. Mel Brooks Bullitt (1968) d. Peter Yates Night of the Living Dead (1968) – d. George Romero Head (1968) d. Bob Rafelson Alice's Restaurant (1969) d. Arthur Penn Easy Rider (1969) d. Dennis Hopper Medium Cool (1969) d. Haskell Wexler Midnight Cowboy (1969) d. John Schlesinger The Rain People (1969) – d. Francis Ford Coppola Take the Money and Run (1969) d. Woody Allen The Wild Bunch (1969) d. Sam Peckinpah Bob & Carol & Ted & Alice (1969) d. Paul Mazursky Butch Cassidy & the Sundance Kid (1969) d. George Roy Hill They Shoot Horses, Don't They? (1969) – d. Sydney Pollack Alex in Wonderland (1970) d. Paul Mazursky Catch-22 (1970) d. Mike Nichols MASH (1970) d. Robert Altman Love Story (1970) d. Arthur Hiller Airport (1970) d. George Seaton The Strawberry Statement (1970) d.
    [Show full text]
  • Oral History Interview Jennifer Bartlett, 2011 June 3-4
    Oral history interview Jennifer Bartlett, 2011 June 3-4 This interview is part of the Elizabeth Murray Oral History of Women in the Visual Arts Project, funded by the A G Foundation. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Jennifer Bartlett on June 3 and 4, 2011 . The interview took place in Brooklyn, New York, and was conducted by James McElhinney for the Archives of American Art, Smithsonian Institution. This interview is part of the Elizabeth Murray Oral History of Women in the Visual Arts Project. Jennifer Bartlett has reviewed the transcript. Her corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview JAMES MCELHINNEY: This is James McElhinney speaking with Jennifer Bartlett at her home and studio in Brooklyn on Friday June the 3rd, 2011. Good morning. JENNIFER BARTLETT: Good morning. MR. MCELHINNEY: Where were you born? MS. BARTLETT: Long Beach, California. MR. MCELHINNEY: Really? MS. BARTLETT: [Laughs.] Yes. MR. MCELHINNEY: And what was your childhood like? Were you exposed to art at an early age? MS. BARTLETT: There—we—there was some art books at home that I would look at, but not a lot. And I think probably bought by my mother. My father was a big—feeling that artists were parasites on society—[laughs]— and you know the rest.
    [Show full text]
  • Bonnie and Clyde and the Sixties Bruce Campbell
    “Something’s happening here”: Bonnie and Clyde and the Sixties Bruce Campbell Something’s happening here What it is ain’t exactly clear (Buffalo Springfield) It was a tumultuous time; 1967, the Age of Aquarius, the time of Flower Power, free love, and hippies.1 There were “Be-Ins” on both coasts. In the Haight-Ashbury section of San Francisco, there was a celebration called the “Summer of Love,” and a top-ten song advised “if you’re going to San Francisco, be sure to wear some flowers in your hair” (McKenzie). Young people were encouraged to “turn on, tune in, drop out,” and the nation suddenly learned about LSD.2 A generation just coming of age called for “peace and love.” Others wanted quicker, more violent change. Young men were being sent to Vietnam to fight what many considered an unjust war. Figures from the US National Archives show that more than eleven thousand young Americans died in Vietnam in 1967. The next year, the number would rise to more than eighteen thousand. The war was costing taxpayers billions of dollars a year, and each month, thousands of young men were being drafted into military service.3 When there were demonstrations against the draft and the war, protestors were met by police and National Guard troops. Groups like the Weathermen began using bombs to strike at “the system.”4 Blacks seeking equality grew frustrated with the slow progress of Martin Luther King’s nonviolent approach to achieving racial equality. In the summer of 1967, race riots plagued Newark, Detroit, and other cities.
    [Show full text]
  • Fiftieth Anniversary Tribute--A Salute To
    The Museum of Modern Art For Immediate Release October 1986 ARTHUR PENN, October 20, pages 1 and 2 FILM CLASSICS FROM NEW YORK, October 23 and 28, pages 3 and 4 DIRECTORS GUILD OF AMERICA: FIFTIETH ANNIVERSARY TRIBUTE- A SALUTE TO ARTHUR PENN October 20 A poignant observer of the American social landscape since the fifties, film director Arthur Penn will be honored by The Museum of Modern Art on Monday, October 20, at 6:00 p.m. Mr. Penn will present his amusing and critical account of the late sixties counterculture, Alice's Restaurant (1969), as part of the ongoing DIRECTORS GUILD OF AMERICA: FIFTIETH ANNIVERSARY TRIBUTE. Based on a song by Arlo Guthrie, Alice's Restaurant stars Guthrie, Pat Quinn, and James Broderick. The film is set in Stockbridge, Massachusetts, where Guthrie is staying with Alice and her friends in an old church building. He succeeds in escaping the draft on account of a previous criminal offense, littering on Thanksgiving Day. Mr. Penn has worked in an unusually broad range of genres and styles. He began his career as an actor and stage director and directed for television in the fifties. In his feature films The Left-Handed Gun (1958), Bonnie and Clyde (1967), Little Big Man (1970), and The Missouri Breaks (1976), he transformed the traditional western and gangster film. The 1975 Night Moves is an hommage to the film noir that ends in disillusion and tragedy. Mr. Penn's recent The Target (1985) is a spy thriller replete with action, starring Gene Hackman, who has played in several of Mr.
    [Show full text]
  • Little Big Man
    LE RÉALISATEUR DE "BONNIE AND CLYDE" REVISITE LE MYTHE DE LA CONQUÊTE DE L’OUEST DANS UNE FRESQUE GRANDIOSE LITTLE BIG MAN UN FILM D’ARTHUR PENN AVEC DUSTIN HOFFMAN ET FAYE DUNAWAY POUR LA 1RE FOIS EN VERSION RESTAURÉE AU CINÉMA LE 20 JUILLET 2016 Relations presse Programmation Retrouvez toute notre actualité et nos visuels sur CARLOTTA FILMS www.carlottavod.com CARLOTTA FILMS Ines DELVAUX Mathilde GIBAULT Tél. : 01 42 24 87 89 Tél. : 06 03 11 49 26 [email protected] [email protected] Relations presse Internet Distribution Élise BORGOBELLO CARLOTTA FILMS Tél. : 01 42 24 98 12 9, passage de la Boule blanche 75012 Paris [email protected] Tél. : 01 42 24 10 86 – Fax : 01 42 24 16 78 L’ATELIER D’IMAGES « Je crois que Little Big Man se rapproche plus du véritable film picaresque que n’importe quelle autre œuvre de ma connaissance. Ça aurait été bien plus facile de réduire le matériau à une simple histoire d’Indiens, mais le roman de Thomas Berger était trop précieux pour être traité de la sorte, et de toute façon, c’était un défi intéressant. » Arthur Penn n journaliste vient recueillir le témoignage de Jack Crabb, 121 ans, dernier survivant U de la bataille de Little Bighorn qui vit la victoire des Indiens sur les troupes du général Custer. Le vieil homme se met à raconter l’histoire de sa vie : le massacre de ses parents par les Indiens pawnees, son adoption par les Cheyennes où il reçut le surnom de « Grand Petit Homme », puis son retour parmi les Blancs en pleines guerres indiennes… Réalisé en 1970, Little Big Man est la deuxième incursion d’Arthur Penn dans le genre du western après Le Gaucher en 1958.
    [Show full text]
  • Bamcinématek Presents Joe Dante at the Movies, 18 Days of 40 Genre-Busting Films, Aug 5—24
    BAMcinématek presents Joe Dante at the Movies, 18 days of 40 genre-busting films, Aug 5—24 “One of the undisputed masters of modern genre cinema.” —Tom Huddleston, Time Out London Dante to appear in person at select screenings Aug 5—Aug 7 The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas. Jul 18, 2016/Brooklyn, NY—From Friday, August 5, through Wednesday, August 24, BAMcinématek presents Joe Dante at the Movies, a sprawling collection of Dante’s essential film and television work along with offbeat favorites hand-picked by the director. Additionally, Dante will appear in person at the August 5 screening of Gremlins (1984), August 6 screening of Matinee (1990), and the August 7 free screening of rarely seen The Movie Orgy (1968). Original and unapologetically entertaining, the films of Joe Dante both celebrate and skewer American culture. Dante got his start working for Roger Corman, and an appreciation for unpretentious, low-budget ingenuity runs throughout his films. The series kicks off with the essential box-office sensation Gremlins (1984—Aug 5, 8 & 20), with Zach Galligan and Phoebe Cates. Billy (Galligan) finds out the hard way what happens when you feed a Mogwai after midnight and mini terrors take over his all-American town. Continuing the necessary viewing is the “uninhibited and uproarious monster bash,” (Michael Sragow, New Yorker) Gremlins 2: The New Batch (1990—Aug 6 & 20). Dante’s sequel to his commercial hit plays like a spoof of the original, with occasional bursts of horror and celebrity cameos. In The Howling (1981), a news anchor finds herself the target of a shape-shifting serial killer in Dante’s take on the werewolf genre.
    [Show full text]
  • October 11, 2011 (XXIII:7) Arthur Penn, BONNIE and CLYDE (1967, 112 Min)
    October 11, 2011 (XXIII:7) Arthur Penn, BONNIE AND CLYDE (1967, 112 min) Directed by Arthur Penn Writing credits David Newman & Robert Benton and Robert Towne (uncredited) Produced by Warren Beatty Original Music by Charles Strouse Cinematography by Burnett Guffey Film Editing by Dede Allen Art Direction by Dean Tavoularis Costume Design by Theadora Van Runkle Earl Scruggs....composer: Foggy Mountain Breakdown Alan Hawkshaw....musician: "The Ballad of Bonnie and Clyde" Warren Beatty...Clyde Barrow Faye Dunaway...Bonnie Parker Michael J. Pollard...C.W. Moss Gene Hackman...Buck Barrow Estelle Parsons...Blanche Denver Pyle...Frank Hamer DAVID NEWMAN (February 4, 1937, New York City, New York Dub Taylor...Ivan Moss – June 27, 2003, New York City, New York) has 18 writing Evans Evans...Velma Davis credits: 2000 Takedown, 1997 “Michael Jackson: His Story on Gene Wilder...Eugene Grizzard Film - Volume II”, 1985 Santa Claus, 1984 Sheena: Queen of the Jungle, 1983 Superman II, 1982 Still of the Night, 1982 Jinxed!, Oscars for Best Actress in a Supporting Role (Estelle 1980 Superman II, 1978 Superman, 1975 “Superman”, 1972 Bad Parsons)and Best Cinematography (Burnett Guffey). Selected for Company, 1972 Oh! Calcutta!, 1972 What's Up, Doc?, 1970 National Film Registry – 1992 There Was a Crooked Man..., and 1967 Bonnie and Clyde. BONNIE PARKER (October 1, 1910-May 23, 1934). ROBERT BENTON (September 28, 1932, Waxahachie, Texas – ) won Best Writing Oscars for Places in the Heart (1984) and (March 24, 1909-May 23-1934). Kramer v. Kramer (1979); he also
    [Show full text]
  • Les Bad Boys De L'ouest : Brando, Nicholson Et Le Western
    Document generated on 10/01/2021 5:32 p.m. 24 images Les Bad Boys de l’Ouest Brando, Nicholson et le Western Bruno Dequen Western – Histoires parallèles Number 186, March 2018 URI: https://id.erudit.org/iderudit/87969ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this article Dequen, B. (2018). Les Bad Boys de l’Ouest : Brando, Nicholson et le Western. 24 images, (186), 18–19. Tous droits réservés © 24/30 I/S, 2018 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ DOSSIER — WESTERN – Histoires parallèles LES BAD BOYS DE L’OUEST BRANDO, NICHOLSON ET LE WESTERN par Bruno Dequen Le Western n’est pas le premier genre qui vient en tête à la mention des noms de Marlon Brando et Jack Nicholson. Pourtant, ils en ont tous deux réalisé un, et The Missouri Breaks demeure le seul film dans lequel ils ont partagé l’affiche. Critiquées ou ignorées à l’époque de leurs sorties, les incursions des deux monstres sacrés au Far West font partie des propositions les plus originales du genre et mettent en valeur la relation complexe qu’entretenaient les deux légendes d’Hollywood avec leur art.
    [Show full text]
  • Dictionary of Westerns in Cinema
    PERFORMING ARTS • FILM HISTORICAL DICTIONARY OF Historical Dictionaries of Literature and the Arts, No. 26 VARNER When early filmgoers watched The Great Train Robbery in 1903, many shrieked in terror at the very last clip, when one of the outlaws turned toward the camera and seemingly fired a gun directly at the audience. The puff of WESTERNS smoke was sudden and hand-colored, and it looked real. Today we can look back at that primitive movie and see all the elements of what would evolve HISTORICAL into the Western genre. Perhaps the Western’s early origins—The Great Train DICTIONARY OF Robbery was the first narrative, commercial movie—or its formulaic yet enter- WESTERNS in Cinema taining structure has made the genre so popular. And with the recent success of films like 3:10 to Yuma and The Assassination of Jesse James by the Coward Robert Ford, the Western appears to be in no danger of disappearing. The story of the Western is told in this Historical Dictionary of Westerns in Cinema through a chronology, a bibliography, an introductory essay, and hundreds of cross-referenced dictionary entries on cinematographers; com- posers; producers; films like Butch Cassidy and the Sundance Kid, Dances with Wolves, The Good, the Bad, and the Ugly, High Noon, The Magnificent Seven, The Searchers, Tombstone, and Unforgiven; actors such as Gene Autry, in Cinema Cinema Kirk Douglas, Clint Eastwood, Henry Fonda, Jimmy Stewart, and John Wayne; and directors like John Ford and Sergio Leone. PAUL VARNER is professor of English at Abilene Christian University in Abilene, Texas.
    [Show full text]