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* AllThereIsToKnowAboutTheCryingGame: An outlaw couple makes it to the end, in a car, then they get a rain of bullets for their troubles.
* AlternateCharacterInterpretation: WordOfGod may have said that Clyde is supposed to be impotent, but the movie never states so and his entire sexual behaviour comes across much more like {{Asexuality}}.
** For example: Why doesn't he try to please the very frustrated Bonnie in other ways than penetrative sex, if he is sexually attracted to her but just suffers from ED? How come his supposed chronic physical problem just spontaneously resolves itself in the end without comment? Why does he act so very awkward when they first try to have sex, and doesn't give himself more than a few seconds time to react to Bonnie's touch before giving up?)
** Considering this was made in the 60s and the general expectation of AManIsAlwaysEager, it's entirely possible that the writer based Clyde's behaviour on somebody who actually was asexual, but who he thought must be impotent. Or that WordOfGod actually meant "unwilling to have sex" but didn't have a better word for it, in the same way that asexual women were called "frigid".
-->'''Clyde:''' I might as well tell you right off: I ainít much of a lover boy. That donít mean nothing personal about you. I meanÖ IÖ I never saw no percentage in it.
* AndYouThoughtItWouldFail: Creator/WarnerBros wasn't expecting the film to work at all, but it was a megahit and helped change the way filmmakers would depict violence in future works.
* AudienceColoringAdaptation: Virtually all mainstream knowledge of the historical Bonnie and Clyde is from this film, despite the various liberties it takes with the two. There's been some attempts to make a more historically true film about the pair, but they are at best stuck in DevelopmentHell.
* AwardSnub: Losing out on nearly all of the major Oscar categories, despite the recognition it received by (some) critics as an innovator for the cinematic landscape. Additionally, it failed to even earn a ''nomination'' for Best Film Editing. Creator/RogerEbert once said that the moment he lost faith in the Academy Awards was when ''Bonnie and Clyde'' failed to win Best Picture.
* CriticalDissonance: Despite being such a huge success, most critics were repulsed by the film's violence and romanticization of the titular outlaws. One of the few critics that lauded the film, Pauline Kael, quit the ''New Republic'' newspaper when they refused to publish her review.
* DamselScrappy: The movie version of Blanche, at least in the estimation of her real-life counterpart--she was quoted as saying that "That movie made me look like a screaming horse's ass."
* DracoInLeatherPants: Audiences came out of the film rooting for the bad guys against the cops and their victims. The film-makers were fully trying to invoke this trope:
-->''Film/BonnieAndClyde [[BornInTheWrongCentury were out of their time]] in the 30s...If Bonnie and Clyde were here today, they would be [[{{Hipster}} hip]]. Their values have become assimilated in much of our culture -- [[EveryoneHasStandards not robbing banks and killing people, of course]], but [[CoolPeopleRebelAgainstAuthority their style, their sexuality, their bravado, their delicacy, their cultivated arrogance, their narcissistic insecurity, their curious ambition]] have relevance to the way we live now. Of course, what makes them beautiful is [[UnbuiltTrope they didnít know it]]...They are not Crooks...They are people, and this film is, in many ways, about whatís going on now.''
-->-- Screenwriters Robert Benton and David Newman, of Arthur Penn's ''Film/BonnieAndClyde'', excerpted from Mark Harris' ''Pictures of a Revolution''.
* EnsembleDarkhorse:
** C.W. Moss became a popular enough character to earn Michael J. Pollard a bit of a cult following. There was even a tongue-in-cheek campaign to draft him as a presidential candidate in 1968.
** Creator/GeneWilder in his film debut as the dorky undertaker who gets his car stolen by the Barrow gang made a strong impression with just a few minutes of screen time.
* HilariousInHindsight: With all due respect to ''Film/SplendorInTheGrass'', the role of the bank robbing Clyde was Creator/WarrenBeatty's big claim to fame. About three decades later he would take on the role of one of pop culture's most famous fictional lawmen in ''Film/DickTracy''.
* NightmareFuel: Right after Sheriff Frank [[SpitefulSpit spits on Bonnie]], the look of [[BerserkButton absolute anger and hate]] on Clyde's face right before delivering a NoHoldsBarredBeatdown to Frank is ''terrifying''.
* OlderThanTheyThink: This was actually the second biographical film about the couple, after 1958's ''[[https://en.wikipedia.org/wiki/The_Bonnie_Parker_Story The Bonnie Parker Story]]'', where she teams up with [[NoHistoricalFiguresWereHarmed "Guy Darrow"]] and his gang. Likewise, films on the OutlawCouple trope inspired by the duo include Creator/FritzLang's ''You Only Live Once'' and Joseph H. Lewis' BMovie classic ''Film/GunCrazy''. The latter film features much of the Freudian subtext between guns and sex in this film, and indeed Creator/FrancoisTruffaut made the film's screenwriters watch that film during his brief involvement during pre-production. There was also Edward Anderson's 1937 novel ''Thieves Like Us'', which was adapted by Creator/NicholasRay in 1948 as ''They Live By Night'' (and [[Film/ThievesLikeUs remade under the novel's title]] by Creator/RobertAltman in 1974).
* RetroactiveRecognition: Creator/GeneWilder in his film debut as the male half of the couple that B&C capture.
* SpecialEffectFailure: Most of the driving scenes feature ObviousBlueScreen.
* VindicatedByHistory: The violent demise of the title two characters was considered a dealbreaker for a number of critics at the time the movie was released, who argued that the film glorified violence. Not too long after, the sheer brutality of the scene instead became praised for its audacity, and the other aspects of the film were viewed in a more positive light.
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