Clyde Barrow and Bonnie Parker were ruthless killers who engaged in a crime spree that spanned several states over two years. Sadly, over time, the pair became considered folk heroes, as portrayed in “Bonnie and Clyde,” a film that doesn’t necessarily celebrate their exploits, but glossed over their crimes by turning them into anti-heroes.
Similar portrayals can be found for known criminals such as Jesse James, William H. Bonney (aka Billy the Kid), and Al Capone. They were all larger-than-life figures who developed more of the “cool outlaw” persona than that of cold-blooded murderers.
A new Netflix film seeks to rebalance the scales of justice. “The Highwaymen” tells the story from the side of those who eventually took down Bonnie and Clyde, relegating the notorious pair to the background, but not before making clear to the audience this script sees the villains as villains.
Kevin Costner and Woody Harrelson play Frank Hamer and Maney Gault, respectively. The two Texas Rangers come out of retirement at the urging of Gov. “Ma” Ferguson, played by Kathy Bates, to track down and apprehend Bonnie and Clyde.
The story begins with Hamer and Gault going along out of boredom for the former and necessity for the latter. Hamer, having married a wealthy woman, doesn’t want for money, but he can’t escape the allure of law enforcement. Gault, on the other hand, struggles like so many others did at the time, living in a home he no longer owns thanks to a bank foreclosure.
As the duo learn more about Bonnie and Clyde’s exploits, they put their hearts into the mission, using the skills and tactics they learned over the years to track them down.
The performances by Costner and Harrelson as well as the sharp dialogue are enough to distract from what’s become a recurring deficiency of many Netflix-produced films. The $49 million budget for the movie likely went to pay salaries, and unfortunately, the end product thus lacks the visual punch necessary for a story that takes place during the Great Depression, especially during a Texas summer.
It may also be a learning experience for the director, John Lee Hancock. The Texas native typically directs lighter fare, such as “The Founder,” “The Blind Side,” and “Saving Mr. Banks.”
That said, the pacing of the film works, and Hancock resists making what could easily have been a movie loaded up with gunfights and standard action. Instead, the story takes time to unfold, giving the audience insight into the two main characters, and picking up some of their backstories.
The result is a connection with two characters that have a real sense of purpose. While some light moments between Hamer and Gault result in laughs, the trail of bodies Bonnie and Clyde leave in their wake gets the two Texas Rangers to approach the task with the requisite seriousness.
The story is unique in that it gets told from the perspective of the law and doesn’t pull punches regarding the viciousness of Barrow and Parker. During their crime spree, the duo participated in the murder of nine police officers and several civilians, despite a reputation as “Robin Hood” types, doing what they did in service of those affected by the Great Depression.
It all leads to the big payoff, which is the ambush by Hamer, Gault, two other Texas officers, and two Louisiana officers. With the folk hero myth washed away, there’s only a sense of satisfaction when Bonnie and Clyde get killed in a hail of bullets.
In the annals of history, more people know the names Bonnie Parker and Clyde Barrow. “The Highwaymen” presents an opportunity, through the vehicle of pop culture, to get more people to recognize and appreciate the names Frank Hamer and Maney Gault.
Jay Caruso is deputy editor of the Washington Examiner magazine.
