Anabel Shaw, Berry Kroeger, Harry Lewis

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85% liked it

487 ratings

Critics

96% liked it

27 critics

Unrated, 1 hr. 27 min.

Directed by: Joseph H. Lewis

Release Date: January 20, 1950

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DVD Release Date: January 19, 1999

Stats: 139 reviews

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Flixster Reviews (139)


  • April 19, 2009
    Exciting story of lovers with a twisted passion for the trigger ala Bonnie and Clyde, with frenetic but solid direction by Joseph H. Lewis.
  • September 10, 2008
    if you'd like to categorize "gun crazy" as the earlier version of "bonnie and clyde", it might have some parallel to resonate but somehow the core spirit might differ to a degree. "gun crazy" is mainly about a couple with the shared obsession for invincible power gained from shoo...( read more)ting as well as their fetish craze for guns. they form their bond thru the mutual recognition of gun-fetishes. then peggy cummins' character laury shifts her craze for guns into the crave of power....she's the harpy vixen who could pull the trigger ruthlessly as her well-being get endangered, anytime someone hinders her way, the sympton for homicidal violence. as for john dall's bud, he's more of a romantic steer whose appetite for destruction hasn't been explored throughly as laury's if he has any. as a child, he would commit theivery to get a gun as he's the puppet for guns. bud identifies himself thru the thrill of firecrack but suffers from a backset guilty conscience for death. so basically laury takes the wheel with her manipulative allure and tigress-alike shrewdness, guiding bud into the empheral life once the gun is fired off, the spark is briefly annihilated as well as its immediate ruin.

    laury is a more interesting character with sociopath tedency, bud is the slave of her wild spunk just as bud is the puppet of his own gun-craze. she conducts herself with the ambition as mighty as any incorrigible male con, but limited to her gender as a female, love shall be her gang so bud is her sidekick. she seeks a man who is tough enough to depredate everything from the world for her, or at least obedient enough to grant her wishes and comply her will as bud. the idea of aggressive female dominating over the submissive male is something differentiated from bonnie and clyde since bonnie is more of a moll who approves and accomplices clyde. bud is more of a gentleman with his bourgeois upbring, reluctant to smear off any life on earth; laury is more of a ghette street-wise woman who has been kicked around all her life that stimulates an avid vengence for her to hit it top against society.

    the end of their demise together is more like a final confrontation between the two's living values: bud shoots laury to stop her from shooting his childhood friend while he gets killed by the police surrounded just becuz he fires a shot....bud chooses a last preserved virtue of mercy as laury chooses to abide her primitive survival instinct thru killing. bud is the domestic kitten which cannot adapt into the dangerous edge; laury is the savage feline existing among the perilous jungle. maybe bud could be the hapless romantic anti-hero with strong love for his woman......and our femme fatale in this time is raging amok with all her ammunitions that you could not ignore....gone(gun) crazy.
  • January 7, 2008
    a gun-crazy kid meets the girl of his dreams/nightmares in this outrageous noir. i love the shooting contest/pseudo-sex scene, the long single take of a robbery shot entirely from the back seat of a car and of course the eerie final sequence. a cool bonnie and clyde tale, very ...( read more)entertaining
  • November 12, 2006
    A wannabe Bonnie and Clyde. The final sequence is well done.
  • September 4, 2009
    "I want action."

    Simple, to the point. Shoot first... and shoot from the hip. Never ask questions, ever, and let nothing come between your love and your revolver. More importantly... You better run when she gets that crazy look in her eye...

    Casting:
    Peggy Cummins plays the ro...( read more)le of gun-slingin' Annie Laurie Starr. Adorable, and oh so deadly. Yeah.. she doesn't give a fuck if you live or die. Don't get in her way. End of story. John Dall as Bart Tare. A perfect contrast of character from his trigger happy femme fatale to be. A man struggling with his own morals, whilst being dragged into a life of crime with a rope around his dick.

    With a title such as "Gun-Crazy" you can probably safely assume a few things already. The bombshell on the poster eludes to the obvious in this case.. a crazy chick with a gun. What more could a guy with obvious castration anxiety possibly ask for? Yeah right Freud.

    A smartly made film, and by smartly, I'm mostly talking about lot's of great editing. Saving probably a lot of money in filming costs. Aside from this, there were several scenes that I found to be very well done as far as camera-work goes. Some very decent photography. Specifically, noting the continuous shot leading up to the 'big heist' and also the chase sequence through the woods.

    Received unanimously by Rotten Tomatoes. Although, this is probably due to the fact that there are considerably fewer reviews/commentary on this film.

    *plot details bellow*

    An few interesting, possible discussion points.

    First, the irony, and I guess at this point, I should be referring to as noirony.... was at perfect pitch and tone. Especially the scene in the dressing room, where Bart is told by the clown that he is "stupid about women". Perfect.

    The final scene, was confusing at first. Since they saved a lot on production with some selective and smart editing; with not having to ever show blood, or actual guns firing, in this aspect, a lot of well-timed cuts probably saved thousands of dollars. However, in the final scene, it is hard to tell that Annie is actually shot by Bart, and not Bart's police friends. Am I the only one that was confused on that? Since this past the point of fixing or tightening-up, I will not focus on it so much, but did bug me, as much as I appreciate a great film with such low production value.

    I would agree that this film does have Bonnie and Clyde characteristics, as I see has been pointed out in other reviews, but it is very much so a different film. If anything, this feels like a play on the story of Annie Oakley when she was in Buffalo Bill's traveling Wild West Show, and a potential tragic love story within that realm.

    Of the film-noir kisses that I have witnessed thus far, I would have to rank a specific kiss in this film, very high.

    ~Where they have just pulled off their big heist, and are getting ready to take off in separate directions in separate cars, before they both turn around instinctively, and realize how dumb that would be. Basically, that they both understood that their romance was gonna ride out together, until the end of the line. It was a very well-timed, and very meaningful kiss. I enjoyed it thoroughly.

    ~<({mwuah})>~
  • September 10, 2009
    The irony of this movie is so good, it became one of my favorite classic. Thanks for recommending it to me, BurtHarbinson.
  • August 4, 2009
    A classic film noir, almost. John Dall plays a really good sap (as he did in other films), well-meaning but ultimately led by his nose to wrack and ruin. Peggy Cummins is appropriately the crazier of the two, but deviates a bit from the classic femme fatale because she loves the ...( read more)sap too much for her own good. It plays better than you might think for an 'B' movie oldie, and subsequent films took some cues from the duo's dynamics. Required viewing for any classic movie fan.
  • February 19, 2009
    Un autre classique du film noir américain, également précurseur de Bonnie and Clyde, à un point tel que ce dernier ressemble à un remake. Une odyssée criminelle à travers les États-Unis, alimentée par un amour inconditionnel entre deux êtres qui courent inévitablement à leur pert...( read more)e. Contraste très bien exploité entre la névrose viscérale d'Annie et la mollesse de Bart, qui craint plus que tout au monde de tuer un être vivant, mais qui se voit emporté dans une spirale de crimes par cette femme qu'il aime et avec qui il rêve de finir ses jours.

    Peggy Cummins est parfaite dans le rôle de la maniaque au fusil qui tire aussitôt qu'elle se sent un peu menacée. Son personnage est étonnamment assez étoffé, très difficile à cerner, et c'est cette complexité un peu déroutante qui la rend si crédible. Une tueuse dans le corps d'une poupée, mais aussi une petite fille que l'on n'a jamais laissée grandir. John Dall me semblait au départ un choix de casting étrange, mais au final, son espèce de look flanc-mou se marie parfaitement avec la personnalité de Bart qui au fond n'a rien d'un criminel.

    Le film est notable pour ses prises de vues extrêmement soignées et son utilisation très dynamique de la caméra, qui fait du spectateur une sorte de troisième complice, effet particulièrement exacerbé dans la scène du vol de banque qui est en partie improvisée et qui place la caméra sur la banquette arrière, alors que les personnages tournent en rond à la recherche d'une place de stationnement qui n'était pas réservée d'avance. Un film à découvrir, hautement divertissant et réalisé avec beaucoup d'ingéniosité.
  • May 22, 2008
    Don't let the title fool you. This is actually quite a good noir; One of my favourite actually. There's something so compelling about Bonnie and Clyde couples, and this movie hits the topic right on the nose. Wonderfully pulpy, melodramatic, and exhilarating. One of the most enjo...( read more)yable and entertaining films I've ever seen.
  • May 22, 2008
    "Why do you have to murder people? Why can't you let them live?" A Classic. The climax in the fog is a masterpiece of direction and cinematography.

Critic Reviews


February 27, 2009
Nigel Andrews, The Financial Times

Like all great films noirs, this 1949 lovers-on-the-run thriller, directed by cultists' darling Joseph H. Lewis (The Big Combo), is lean, mean and delirious. full review

View more Gun Crazy reviews at RottenTomatoes.com

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