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Arthur Penn began two very important trends in Hollywood filmmaking with Bonnie and Clyde, specifically introducing a new type of gangster film and creating a signature director’s style. First, audiences were attracted to Bonnie and Clyde, even though they were the gangsters. He describes Bonnie and Clyde as folk-heroes “who live from their spontaneous impulses, not from any codified morality (80).” He identifies several scenes in the film, such as the reunion with Bonnie’s mother, that humanize the gangsters and portrays conventional society as abnormal. Secondly, the French New Wave inspired Penn’s use of slow motion, special photographic textures, and free intercutting to create a sense of tension, excitement, and escalating violence. But, Cameron argues the “released” his artistic signature and desire for a distinguishable style. Penn really applied his own "mark" to his films through editing.
Cameron’s analysis explains that despite the unequivocal evidence that crime does not pay, the film is still very likely to encourage spectators to like Bonnie and Clyde because these outlaws are attractive, spontaneous, and even seem fun. Cameron believes people do not identify with their criminal nature, but rather their carefree sense of independence. This essay supports the notion that Penn glamorizes the perpetrators of violence by creating endearing characters. From Cameron's perspective, there are sociological and cultural implications that the audiences identify so intensely with outlaws, which up until this film was nonexistent.
Phillips, Gene D. "Chapter Thirteen. In Search of a Hero: Filming Lawrence of Arabia." Beyond the Epic: The Life & Films of David Lean. Lexington: The University Press of Kentucky, 2006. 291-320.
Gene D. Phillips gives a highly amusing and provocative portrayal of the year-long process of filming Lawrence of Arabia. In this chapter, he provides multiple examples of disputes that arose between the director, David Lean, and Sam Spiegel, the producer, usually over issues of time and money. He relates instances of Peter O’Toole’s bravado, and more frequently his alcoholism, disturbing important takes. He even reports of a love affair that took place between the then-married David Lean and his script supervisor, Barbara Cole.
Also included in this portion of the book is a detailed scene-by-scene analysis of the epic. Phillips highlights the most important moments, thereby illustrating David Lean’s highly-skilled filmmaker’s eye and precise decision-making. This chapter would be particularly beneficial in giving an idea of approaching Lawrence of Arabia from the angle of auteurism, as the main focus is the interactions between Lean and his cast and crew. Furthermore, the domineering personality of the director that is related within this piece invokes interesting parallels between Lean and T. E. Lawrence, the egotistical and driven main character of his film. The comprehensive production history firmly grounds the mythic epic within the harsh actuality of filming in a desert that drove crew members mad with heat, and of budgets and time-schedules continually running over. The film, which seeks to turn a man into a myth, has itself garnered a mythic status within cinematic history. This chapter therefore helps to re-infuse the film with some reality.