六十年代,法国电影新浪潮的余波荡及美国影坛时,罗伯特·本顿还是《绅士》杂志的美术设计,他同文字编辑大卫·纽曼志趣相投,结为拍档。他们组来一系列讨论电影问题的稿子,一起造访纽约电影节,领略布努艾尔、布雷松影片的魅力,去现代艺术馆欣赏希区柯克、霍克斯的佳作。就在他们被《四百下》、《枪击钢琴师》、《精疲力尽》这些新浪潮影片所震撼之际,读到约翰·托兰叙述约翰·迪林戈的书,一则关于邦妮和克莱德的注脚引发了他们的兴趣。于是,他们决定写一部以邦妮·帕克与克莱德·巴罗为原型的美国新浪潮影片。 事实上,本顿早就熟悉邦妮和克莱德的事,他父亲曾经参加过那两人的葬礼,他自己简直就是伴随着雌雄大 In the 1960s, when Robert Benton was still a gentleman magazine in the wake of the new wave of French movies and the American cinema, he shared the same interest as the text editor David Newman into a partner. They group to a series of manuscripts discussing the movie, visit the New York Film Festival together, enjoy the charm of Bunuel, Bresson film, go to the Museum of Modern Art to appreciate Hitchcock, Hawkes masterpiece. Just as they were shocked by the new waves of “Four Hundreds Down,” “Pianist Pistol,” and “Exhaustion,” John Dolan read the book about John Diengo, The footnotes to Ni and Clyde sparked their interest. So they decided to write a new American film based on Bonnie Parker and Clyde Barrow. In fact, Benton had long been familiar with Bonnie and Clyde, his father had participated in the funeral of the two men, he is simply accompanied by male and female