That was the year of Bonnie and Clyde, a bellwether for anyone today trying to understand how Hollywood was transformed during the ’60s. A Depression-era outlaw fantasy, Bonnie and Clyde celebrated the violent, bubbling id of America in the late ’60s by subverting the gestalt of old classics with off-beat humor, shockingly explicit violence, and sexual role reversals.
The film’s producer and star, Warren Beatty, wanted to screen a nearly-finished cut for the old man, so he dutifully brought a print to Jack’s home screening room in Beverly Hills. Jack was distracted, flummoxed by the film’s quirky pastiche of cheerful youth rebellion and slow-motion bloodletting. He hated it.
“What the hell was that?” Warner said.
Beatty tried to explain in a manner he thought Jack would appreciate.
“It’s an homage to Warners gangster films,” he said. But Jack was having none of it.
“What the fuck’s an homage?” Jack Warner said.
„Was Hollywood Too Jewish?”
(d. „Kochana młodzieży…”; d. oddajcie mi moje 5 minut; d. muzeum Rękawiczek; d. muzeum sztuki nienowoczesnej; d. w walce o sojusz Robotnika, Chłopa i Urzędnika Pracującego; d. salon zależnych; d blog elegancki & symetryczny.)