DAVID NEWMAN: Every store window in Paris had women in berets and maxi skirts. There was a nightclub that had a stripper who did a routine dressed as Bonnie Parker. For the premiere, we went in this huge caravan of antique automobiles. Benton and I and our wives were the first to arrive at the theater, where we were bombarded by a storm of flashbulbs. After about 30 seconds, they must have realized: Who are these people? They're only the writers.
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Bonnie & Clyde & Joe & Pauline
This year is the 30th anniversary of the release of "Bonnie and Clyde." Sunday's Calendar detailed the film's approval, financing and casting struggles. Today's second part, told mostly through the words of key participants, tells how the film earned its status as a classic after initial reviews nearly buried it.
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FAYE DUNAWAY: That's when I knew something incredible was happening. I got out of the car into this sea of berets. It was stunning. I thought, "Oh my God, everyone looks like me."
BEATTY: There were no bad reviews in London or in Paris--not because they saw the film in a different way, but because they saw America in a different way. Our movie said something about violence in America that people were disturbed about, but didn't want to deal with. So instead, they'd complain about the size of our dollar bills.
LEDERER: The reaction from overseas told us we had something. The studio had a new guy running distribution. He only lasted three months, but he got behind the film. We got 10 Oscar nominations, so we re-released the film in February, when the nominations were announced. And everything happened--it was a big hit.
NEWMAN: About six months after the film came out, Benton and I met Bosley Crowther at some industry dinner. We made some awkward small talk and finally his wife came along, and he introduced us by saying, "My dear, these are the young men who wrote 'Bonnie and Clyde.' You know, they're not so bad after all."
BEATTY: The great thing about "Bonnie and Clyde" was that it gave me a freedom I've never relinquished. It gave me the confidence to know that if I wanted to make a movie, I could just go out and make it. There are some movies where you didn't always know what went on or whose idea it was--everything just comes together. It's like Victor Hugo said, "There's nothing as powerful as an idea whose time has come."
