(On Cable TV, January 2018) There’s no denying that Bonnie and Clyde still carries a strong mystique even today. It’s a reference that pops up every single time there’s a man-and-woman criminal team. It’s also a film that showed very clearly the state of Hollywood by the end of the sixties, sufficiently emboldened by the end of the Hays Code to start showing blood and gore in big-budget entertainment. I can’t quite picture how revolutionary or upsetting the film must have been at the time, with elaborately constructed scene in which people are shot in the head by criminals portrayed as heroes. Such things are, for better or for worse, far more common these days and so Bonnie and Clyde is approached differently today without the element of shock. Personal preferences certainly come into play—I had a surprisingly negative reaction to the film myself: being generally unreceptive to the stereotype of the heroic outlaw, I was unable to empathize much with the murdering anti-heroes. (I’m also Canadian, if that helps: “Peace, order and good government”) The film does have its qualities—Warren Beatty is at the top of his young roguish persona here, and let’s not forget Faye Dunaway’s presence either. Screen legends such as Gene Hackman and Gene Wilder also pop up in small roles, although modern viewers may be disappointed at their ineffectual characters or small roles. The infamous ending remains upsetting. Bonnie and Clyde, taken on its own fifty years later, is a great deal less special than it must have been. Despite remaining a pivotal film in Hollywood history, I’m not sure that it has aged all that well.