Ajouter une intrigue dans votre langueRebellious sisters and a crooked PI try to escape from the girls' mobster uncle with stolen loot and meet dangerous characters while dodging a pair of enforcers.Rebellious sisters and a crooked PI try to escape from the girls' mobster uncle with stolen loot and meet dangerous characters while dodging a pair of enforcers.Rebellious sisters and a crooked PI try to escape from the girls' mobster uncle with stolen loot and meet dangerous characters while dodging a pair of enforcers.
Diana Darrin
- Miss Meadows
- (as Diane Darrin)
Ron Gans
- Radio Newscaster
- (voice)
Vern Rowe
- Mr. Harris
- (as Vernon Rowe)
Jimmy Lydon
- Motel Manager
- (as James Lydon)
Avis en vedette
Drive-in exploitation movie that is teeming with unlikable characters. I would say that Alex Rocco is the most sympathetic person I could find, and he is a hit-man just trying to do his job. Rocco also provides far and away the best acting in "Bonnie's Kids". The story of manipulating sisters, Tiffany Bolling, and Robin Matson, often bogs down with meaningless small talk and titillating sexual teasing. 105 minutes running time seems excessive, but the story is way above average, and several catchy tunes are memorable. There are also some moments of dark humor thrown into the mix. Not exactly the "classic" others may think it is, but still quite entertaining. - MERK
I've been watching quite a lot of arty-farty foreign flicks of late... so what better way to chill out and take out a break from all the pretentious posturing, than to take on the sort of movie that would have had the drive ins packed 40 years ago. You have a couple of gorgeous babes, senseless violence throughout, casual racism, rampant homophobia, a ramshackle story which goes in every direction and gratuitous nudity as a given. What more could you ask for?
Well, perhaps an ending which will p*ss a lot of people off... GUARANTEED. And maybe they could play the one tune they have on the soundtrack slightly less than every other scene. Other than that, you'll get what you expect. A passable time waster, but don't expect it to be too distracting when y'all smooching with ya babe in the front seat. Don't forget to brush your teeth!! Or at least chew minty gum...... 5/10
Well, perhaps an ending which will p*ss a lot of people off... GUARANTEED. And maybe they could play the one tune they have on the soundtrack slightly less than every other scene. Other than that, you'll get what you expect. A passable time waster, but don't expect it to be too distracting when y'all smooching with ya babe in the front seat. Don't forget to brush your teeth!! Or at least chew minty gum...... 5/10
This movie is really good at accentuating how pretty its women are, and how sleazy its men are, and at that mostly outright predatory. To emphasize how good it is at these things, it gives us fairly regular shots of women topless, with additional shots of women in scant clothing, and even fifteen-year old star Robin Mattson is not excluded. To much the same point, even men's own family members are not safe from their predation, and any cops we see in passing are just as rotten. My, my, if all such sleaze were piled any higher then this would be a film about conservative politicians! Somewhere amidst all the dubiousness - further including some deviousness from the female characters, and pointedly, cheekily counterbalanced with very bouncy music - there is a plot about sisters Ellie and Myra looking out for each other, and eventually some shenanigans about dirty money. I say "eventually" because in a runtime of a little over 100 minutes, we're basically halfway through before that plot more or less begins to take shape, and longer still before that plot begins to truly progress. Up to that point, and still more past it, 'Bonnie's kids' is more of a loose assemblage of characters toying with each other in one way or another.
Look, now Ellie and Larry are dancing and giving each other eyes! Well, isn't that just so sweet. Will this turn out to be more important than it's made out to be in the moment? You bet! Conversely, Myra just disappears from our screens for a surprisingly long time.
The premise sounded interesting. I won't argue with filmmaker Arthur Marks, the women are indeed beautiful. The music is catchy and enjoyable, whatever the precise mood it's embracing. The cast give committed, commendable performances, with Mattson and even more so Tiffany Bolling surely standing out most as Myra and Ellie. This is well made in most every regard, including the editing and cinematography, the costume design, the hair and makeup, and so on. I like the narrative in and of itself, and the scene writing is fairly strong. I do like the ideas on hand, including the characterizations, and in fact the material is primed for a rather dark, absorbing, stimulating neo-noir thriller. I think the whole would be far more solid if Marks weren't so lackadaisical about developing that narrative, and if he didn't shove most of the substance into the relatively small corner of the last two-fifths. Very much accentuating the point: just as the overall sleaze is most predominant in the first forty-five to sixty minutes, and the unhurried storytelling, as the plot truly kicks off in the latter half, Marks left himself so much to do and show in such comparatively little time that the pacing seems rushed, failing to give scenes, beats, and ideas all due time to resonate. Oops.
On another note, we can perhaps accept the misogyny, otherwise touches of sexism, and a racial slur as being part and parcel of the saga, and the figures it presents to us. A homophobic exchange of dialogue, however, is plainly unnecessary and earns a demerit.
Anyway, yes, the pacing shifts from "la, la-laa, la-laa" to "go, go, go," and similarly, the tone shifts from "do, dee-do, dee-do" to "oh man, it's going down, now." I'll grant that this tends to be the narrative structure in most any work of fiction, but the shifts here are glaringly unnatural, not to mention forced and brusque owing to Marks' direction. Carson Whitsett's music similarly becomes more intense and grabbing, and it's superb in and of itself - but again the disparity is noteworthy in an unfortunate manner. The first long stretch that traipses along needed to be tightened; the back end needed more room to breathe as the seediness explodes into jarring violence with a swift gait. With all this firmly in mind, I still believe the picture is enjoyable and worthwhile, and it's better than not. Really, at its core this is flush with potential that should have let it stand tall beside its genre brethren. It's just regrettable, therefore, that the faults stand out so vividly, almost threatening to outshine the value 'Bonnie's kids' boasts. By all means, check this out if you have the chance to watch, for it earns a fair recommendation, and may you like it more than I did. Why, I myself want to like it more than I do. Would that the two unequal halves had been treated more carefully.
Look, now Ellie and Larry are dancing and giving each other eyes! Well, isn't that just so sweet. Will this turn out to be more important than it's made out to be in the moment? You bet! Conversely, Myra just disappears from our screens for a surprisingly long time.
The premise sounded interesting. I won't argue with filmmaker Arthur Marks, the women are indeed beautiful. The music is catchy and enjoyable, whatever the precise mood it's embracing. The cast give committed, commendable performances, with Mattson and even more so Tiffany Bolling surely standing out most as Myra and Ellie. This is well made in most every regard, including the editing and cinematography, the costume design, the hair and makeup, and so on. I like the narrative in and of itself, and the scene writing is fairly strong. I do like the ideas on hand, including the characterizations, and in fact the material is primed for a rather dark, absorbing, stimulating neo-noir thriller. I think the whole would be far more solid if Marks weren't so lackadaisical about developing that narrative, and if he didn't shove most of the substance into the relatively small corner of the last two-fifths. Very much accentuating the point: just as the overall sleaze is most predominant in the first forty-five to sixty minutes, and the unhurried storytelling, as the plot truly kicks off in the latter half, Marks left himself so much to do and show in such comparatively little time that the pacing seems rushed, failing to give scenes, beats, and ideas all due time to resonate. Oops.
On another note, we can perhaps accept the misogyny, otherwise touches of sexism, and a racial slur as being part and parcel of the saga, and the figures it presents to us. A homophobic exchange of dialogue, however, is plainly unnecessary and earns a demerit.
Anyway, yes, the pacing shifts from "la, la-laa, la-laa" to "go, go, go," and similarly, the tone shifts from "do, dee-do, dee-do" to "oh man, it's going down, now." I'll grant that this tends to be the narrative structure in most any work of fiction, but the shifts here are glaringly unnatural, not to mention forced and brusque owing to Marks' direction. Carson Whitsett's music similarly becomes more intense and grabbing, and it's superb in and of itself - but again the disparity is noteworthy in an unfortunate manner. The first long stretch that traipses along needed to be tightened; the back end needed more room to breathe as the seediness explodes into jarring violence with a swift gait. With all this firmly in mind, I still believe the picture is enjoyable and worthwhile, and it's better than not. Really, at its core this is flush with potential that should have let it stand tall beside its genre brethren. It's just regrettable, therefore, that the faults stand out so vividly, almost threatening to outshine the value 'Bonnie's kids' boasts. By all means, check this out if you have the chance to watch, for it earns a fair recommendation, and may you like it more than I did. Why, I myself want to like it more than I do. Would that the two unequal halves had been treated more carefully.
It may be a bit hard to fathom why this is called "Bonnie's Kids" when the mother character "Bonnie" is dead before the movie even starts and does not appear at all, even in flashbacks. But this is no doubt a reference to the movie "Bonnie and Clyde" which this film at times certainly resembles. Two sisters are living with their drunken, brutish stepfather after the death of their prostitute mother. The older sister (Tiffany Bolling) catches the stepfather trying to molest the younger sister(Robin Mattson) and shoots him dead. The two go on the lam and end up at the home of an uncle, who owns a fashion magazine, but (rather incongruously) is also a vicious gangster on the side. The older sister goes to pick up a "package" for the uncle from a dimwitted private detective. They fall for each other and when they discover the "package" is a large amount of cash, they flee with it with two of the uncle's dangerous associate (Alex Rocco, Timothy Brown ) in hot pursuit. Meanwhile, the younger sister is seducing practically everyone in her uncle's household from his studly gardener to his lonely lesbian wife. The ending makes the finale of "Bonnie and Clyde" seem positively cheery by comparison.
This movie has a real early 70's atmosphere of bleak pessimism to it, much like "The Candy Snatchers", another cult film of that era starring Bolling. It isn't just the downbeat ending though, but the fact that ALL the characters are totally amoral and unsympathetic, even the supposed heroines. The two sisters are more than willing to use their sexy bodies to get what they want and they seem completely untroubled by morals or basic human feelings. After convincing him to steal the money, the older sister is perfectly willing to betray her private detective beau and run off with a lecherous traveling salesman to save her own skin. The younger sister, meanwhile, is even more callous: she drives one of her lovers to suicide and then just laughs when she discovers the body. In the end, she doesn't even seem to care about the fate of her older sister.
These sexy but totally unsympathetic heroine roles were pretty much the specialty of Tiffany Bolling. So, not surprisingly, she's pretty good here. This is one of Mattson's first movies, but she would go on to a brief exploitation career (i.e. "Candy Stripe Nurses"), and a much longer career in American television. In way she almost manages to "out-Bolling" Bolling here. She was still pretty young when she did this role, but nevertheless men (and lesbians) everywhere will no doubt be thankful that they don't have a malicious temptress like THIS for a stepdaughter. Director Arthur Marks, who also produced "The Candy Snatcher" would go on to do a couple influential "blaxploitation" movies ("Detroit 9000", "J.D.s Revenge"). I can't say this movie will fit everyone's taste, but one things for sure--they don't make 'em like this anymore.
This movie has a real early 70's atmosphere of bleak pessimism to it, much like "The Candy Snatchers", another cult film of that era starring Bolling. It isn't just the downbeat ending though, but the fact that ALL the characters are totally amoral and unsympathetic, even the supposed heroines. The two sisters are more than willing to use their sexy bodies to get what they want and they seem completely untroubled by morals or basic human feelings. After convincing him to steal the money, the older sister is perfectly willing to betray her private detective beau and run off with a lecherous traveling salesman to save her own skin. The younger sister, meanwhile, is even more callous: she drives one of her lovers to suicide and then just laughs when she discovers the body. In the end, she doesn't even seem to care about the fate of her older sister.
These sexy but totally unsympathetic heroine roles were pretty much the specialty of Tiffany Bolling. So, not surprisingly, she's pretty good here. This is one of Mattson's first movies, but she would go on to a brief exploitation career (i.e. "Candy Stripe Nurses"), and a much longer career in American television. In way she almost manages to "out-Bolling" Bolling here. She was still pretty young when she did this role, but nevertheless men (and lesbians) everywhere will no doubt be thankful that they don't have a malicious temptress like THIS for a stepdaughter. Director Arthur Marks, who also produced "The Candy Snatcher" would go on to do a couple influential "blaxploitation" movies ("Detroit 9000", "J.D.s Revenge"). I can't say this movie will fit everyone's taste, but one things for sure--they don't make 'em like this anymore.
I remember seeing this movie on a triple bill with "Policewomen" and "Superchick". "Bonnie's Kids" was typical drive-in fare; lots of killings, lesbianism, rebellious teens, self-absorbed/hedonistic pleasures; about the only topic it didn't touch was getting high. One thing that always bothered me about this movie: What was the cash for? Drugs? Blackmail? Extortion? Protection? Funny Money? That in itself should've merited a sequel! The other notable thing was that NOBODY in this "epic" (I use the term loosely) went on to bigger success. The intro indicates that this was Robin Mattson's first film, whoever she is!
On a scale of 1-10...hmmm...maybe a 7.25.
On a scale of 1-10...hmmm...maybe a 7.25.
Le saviez-vous
- AnecdotesThis film was very influential to director Quentin Tarantino when he was making Fiction pulpeuse (1994). "The Bonnie Situation" segment in his film was titled as such as a direct homage to this film, and - as in this film - Bonnie is never seen by anyone in it at all.
- ConnexionsFeatured in 42nd Street Forever, Volume 4: Cooled by Refrigeration (2009)
- Bandes originalesEscape
Words and Music by Estelle Silberkleit
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- How long is Bonnie's Kids?Propulsé par Alexa
Détails
- Date de sortie
- Pays d’origine
- Langue
- Aussi connu sous le nom de
- Töchter des Bösen
- Lieux de tournage
- Westwood Village, Westwood, Los Angeles, Californie, États-Unis(Myra and Ellie arrive in Los Angeles, parking the white pick-up in lot.)
- société de production
- Consultez plus de crédits d'entreprise sur IMDbPro
- Durée1 heure 45 minutes
- Mixage
- Rapport de forme
- 1.85 : 1
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By what name was Bonnie's Kids (1972) officially released in India in English?
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