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2008 <http://movies.nytimes.com/movie/
review?res=EE05E7DF173CE361BC4C52DFB266838C679EDE>.
Bosley Crowther’s original New York Times review condemns Bonnie and Clyde, most famously declaring, “This blending of farce with brutal killings is as pointless as it is lacking in taste.” His review criticizes both the lead actors and director for combining slapstick comedy with gory violence, which he finds neither entertaining nor purposeful. This review clearly demonstrates how appalled Crowther was with the level of violence and “ridiculous” portrayal of crime. Not only does he find the combination of comedy and violence horrific, but says the film is not at all representative of the real story of the Barrow Gang. Lastly, Crowther attacks the portrayal of a “sleazy, moronic pair” as fun-loving, carefree, and sympathetic characters.
This review lends unique insight into the immediate and controversial reception of the film. Crowther clearly represents those critics who belive this movie was too graphic and insensitive in its glamorization of crime. It is significant to note that despite such scathing reviews, the film was a huge success, which demonstrates Bonnie and Clyde’s ability to speak to and attract audiences.
"Graduating with Honors" is the New York Times' first review of The Graduate, written by Bosley Crowther on New Years Eve 1967. Crowther claims that writing about this movie as his last ever review as a Times film critic is an honor. It is one of the strongest film reviews that I have ever read in the New York Times, praising everything from the music, to the acting, to the direction and humor. The article recognizes the "american-ness" of both the setting and the characters. It talks about Nichols ability to create a brilliant satire on the American affluent society, with its roots in his older skits with Elaine May.
Crowther describes the cinematic style as "aggressive and full of surprise", which is exactly what Nichols was going for. Interestingly, he does not refer to Simon and Garfunkle as the celebrated artists they are today; rather, he nonchalantly mentions that their music is included in the film, creating appropriate moods. He also keeps referring to Dustin Hoffman as a new talent, which seems so interesting looking back, although it is reasonable that this movie would have put him on the map as an actor. Anne Bancroft is deemed the best woman for the role of Mrs. Robinson, and Katherine Ross is claimed to be the perfect mixture of innocent girlishness and naivety to form a believable Elaine.
Crowther reveals the affair with Mrs. Robinson in a slightly different light from many other critics. After describing the typical nature of the affluent Beverly Hills society, he indicates that this incident is a revelation of the corruption that is often present behind the scenes of such phony lifestyles. It seems significant that a writer at the time, who was probably emerged in a similar lifestyle, was able to recognize and indicate the fallacy of the "perfect" suburbs.
This article is especially important because the New York Times is probably the most widely influential newspaper in the country. Movie fans await the rare occasion upon which the Times will give such high praise to a film. The Graduate is one of the few films deserving of such wonderful ratings in all of its various facets.