On May 23, 1934, the day the law at long last got up to speed with Bonnie and Clyde, a tow truck pulling the couple's shot-up Ford — their wicked bodies still inside — maneuvered into the itty-bitty town of Arcadia, La.
It was a bazaar.
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| Bonnie and Clyde were Depression-era Kardashians: A source of public fascination |
Word had spread that the fugitives were trapped on a close-by nation street. A huge number of individuals from adjacent towns showed up planning to see, and perhaps contact, the groups of the dangerous sweethearts whose abuses had spellbound the country.
″One young lady I went to class with ended up with one of Bonnie's shoes," a town inhabitant reviewed decades later. "Individuals were taking pieces off the vehicle for gifts."
The strange scene is portrayed in the new Netflix film "The Highwaymen," gazing Kevin Costner and Woody Harrelson as the Texas Rangers who chased down Bonnie Parker and Clyde Barrow after they murdered 13 individuals on a multistate wrongdoing binge.
The motion picture is an exemplary pursue story, but on the other hand it's an examination in the nation's long fixation on acclaim in any structure — regardless of whether startling, vicious or absurd. Bonnie and Clyde had everything.
"In the event that they were around today," said John Lee Hancock, the movie's executive, "they would have more Instagram supporters than the Kardashians."
How Bonnie and Clyde progressed toward becoming stars is a story that social students of history, biographers and, obviously, movie producers have been biting on for quite a long time. It's about news coverage, the economy and particularly the ascent of pictures — both still and moving.
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