"Bonnie's Kids" Movie Poster

If you’re looking for the prototype exploitation film, the one that has it all and then some, then friends, look no further than writer-director Arthur Marks’ 1973 low-budget opus Bonnie’s Kids.

First off, there’s the matter of the title — Bonnie And Clyde, despite being a couple years old, was still doing brisk box-office business at the time — and as the titular Bonnie in this film, the mother of the two protagonists we’ll get to in a moment, is dead, and never so much appears even in flashbacks, this flick’s name is an obvious cash-in attempt to “tie in” with the Faye Dunaway-Warren Beatty classic.

So far, so good. Let’s turn our attention, then, to the advertising campaign. Just take a look at that poster, dear readers — it features the lead actress’s (highly exaggerated, of course) measurements prominently displayed! I ask you, does it get any better than that? Your host thinks not.

Next up there’s the matter of the cast — exploitation veterans all around, from Tiffany Bolling (The Candy Snatchers, The Centerfold Girls) to Alex Rocco (Brute Corps, The Wild Riders) to Steve Sandor (Stryker, The No Mercy Man) to Robin Mattson (Candy Stripe Nurses, Phantom of the Paradise).

And finally, of course, there’s the plot — or rather, the sheer, perverse tawdriness of so many of the plot elements. Bad-news sisters Ellie (Bolling) and Myra (Mattson) Thomas, a small-town waitress and high school student, respectively, live with their good-for-nothing alcoholic stepfather, a guy so foul even his own poker buddies hate his guts and tell him so, frequently. One night after the game breaks up, step-daddy overhears Myra engaging in a little titillating phone talk with one of the many junior Romeo pricks she’s teasing. Slapping the phone out of her hand, he picks her up and hits her, kicking and screaming, to the bedroom. As he attempts to mount her, Ellie walks in and, resisting his charming entreaties to “come over and join them” and “give stepdaddy a kiss, like when you were a little girl” (or words to that effect), she decides, instead, to pull out a shotgun and blow his ass to kingdom come.  And did I mention (okay, I didn’t) that Myra’s phone frolicking takes places after she’s already taken a shower in full view of the leering eyes of both her stepdad’s poker pals and the local cops?

So we’ve already got bare teenage boobs, voyeurism, phone sex, attempted rape, implied child molestation, pseudo-incest, and bloody murder of a (sort of) family member — before the opening credits even roll!

From there’s things just get sleazier. Ellie and Myra split town and seek out their rich uncle, Ben, a fashion-industry mogul who puts them up on his expansive ranch-cum-estate and has a little plan : a couple of his —ahem! — “associates” (the aforementioned Rocco and Scott Brady) are arranging to pick up a package he’s sending them at the local bus station, but first Ben needs  someone to drop the package off, and the thugs he’s dealing with need someone to pick it up and bring it to another bus station, where it will be shipped to the one they intend to pick it up at (unnecessarily convoluted? You betcha). Ben enlists Ellie’s help to bring the package tothe drop-off-spot, a relatively seedy motel, and the two sorta-gangsters hire a dim-witted private eye (Sandor) to pick it up from her and take it to the Greyhound terminal for shipment.

At this point the two sisters, pictured as essentially inseparable in most of the film’s advertising, are split up — for the rest of the movie. While the main plot revolves around Ellie and her newfound PI boyfriend opening the package to discover a half-million dollars in cash, at which point she decides their best bet is to make off with it, the film turns back to Myra solely, it seems, to keep the sleaze quotient high.

The two we're supposed to thank God Bonnie stopped after

Not that Ellie’s story is, you know, classy — there’s plenty of pure, unadulterated raunchiness going on there, including gratuitous nudity (Bolling, a prototypical good-lookin’ 70s blonde bombshell bares almost all, I’m willing to bet, in every single movie she was ever in), amoral (we’ll get back to that word shortly) theft from a family member, the (temporary) selling out of her new boyfriend in order to get a shot at all the cash to herself, and the calculated making-up with the guy (guess he’s a real sucker) when she needs his help. Oh, and there’s accidental murder along the way, too — the two toughs kill the wrong couple in another motel room and Ellie and her beau mistakenly do away with the guy she’s trying to catch a ride off in her attempt to abscond with the cash by herself (it’s a long story).

But geez, our gal Ellie is positively a candidate for sainthood compared to her kid sister.

Back at Uncle Ben’s, Myra is busy bedding an older ranch-hand more out of boredom than anything else, stealing trinkets from her aunt, and teasing said aunt, a lecherous older lesbian, with her teenage charms in order to woo stuff out of her when she realizes that outright theft probably won’t be necessary.

And now we get back to that word amoral again. It’s pretty clear that either one of Bonnie’s little darlings will do whatever it takes to get them selves ahead, and when the aunt who’s taken a shine to young Myra is — uhhhmmm — “dispatched” from the ranch, in a truly shocking manner, the younger sister shows no more qualms about it than the elder does in selling out the guy who’s been risking his as for her.

And that streak or amorality plays all the way through to the film’s conclusion, when Ellie and her fella finally come face-to-face with the two small-time gangsters (and by the way, Rocco and Brady’s characters are the obvious prototypes — there’s that word again,  I guess amoral isn’t the only “Pee-Wee’s Word of the Day” in effect here — for John Travolta and Samuel L. Jackson’s cons in Quentin Tarantino’s Pulp Fiction) who’ve been on their tails, precluding the happy reunion of the two sisters (I’ll spare the specifics, since you really need to see this flick) at the end — and Myra, true to form ,brushes off the nixed meeting with astonishing nonchalance.

"Bonnie's Kids" DVD from Dark Sky Films

After years of clamoring from fans, Bonnie’s Kids has just been released on DVD from Dark Sky Films. For a so-called “Special Edition” it’s pretty light on the extras, but there are theatrical and TV ad spots included, and he disc features a fairly comprehensive interview with Arthur Marks (who also gave us exploitation gems like Bucktown and Detroit 9000 among other exploitation gems). The remastered anamorphic picture looks great and the mono audio track is crisp, clean, and largely distortion-free. A commentary would’ve been nice, but on the whole it’s a fairly solid little package.

There are better drive-in/grindhouse movies than Bonnie’s Kids, but few that tick off so many boxes on the unofficial comprehensive exploitation checklist. It’s sleazy, it’s violent, it’s surprisingly dark in tone and nihilistic, and there’s very little by way of pure filler in its 105-minute run time. Whatever you’re looking for in a B-movie sleazefest, this one;s got it, along with plenty you probably quite frankly weren’t looking for. You certainly couldn’t make a film anything like this today, it’s a sheer product of its time.

You’ll enjoy it, and hate yourself for enjoying it. What more could you possibly ask for?

Comments
  1. roarvis says:

    Great review. I’ve heard people mention this one, but didn’t know anything about it. Now I have to see it!

  2. ktz2 says:

    This movie is on the dailymotion site

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