Bart has an intense obsession for guns. It’s what his life revolves around. It’s the only thing he wants to do as a boy and the only things he seems to think about. It becomes a problem when he breaks a store window, but during the following hearing his sister and friends vouch for his character. He would never take a human life or kill. That’s not in his nature.
No matter, it is decided Bart should be sent off to a special preparatory school, and he only returns years later as a grown man recently off a stint in the army. He’s back in his home town not quite sure what his future plans will be, but his buddies are glad to see him. They shoot some, drink a few beers, and decide to take a jaunt to the carnival for a night of fun.
Their Bart meets the girls of his dreams. There’s a quality to John Dall that makes Bart into a pure victim of his circumstances. He’s quickly infatuated with the gun slinging and sensuous Peggy, who seems to share his one love. A goofy smile is plastered on his face as he faces off against her in an act of skill. He makes her uneasy and ultimately beats her.
He gets a job with the carnival and spends as much time as he can with her when he’s not shooting guns. They are fed up with their boss and leave the migrant life behind. Marriage is on their radar, and they live it up with the money they have. But Peggy wants more and she wants to keep living the high life.
She wants to rob a gas station. It’s one little idea that soon blows way out of proportion. They are holding up banks, gas stations, and any place with money that they can lay their hands on. The pair are fugitives with exploits plastered all over the front pages and roadblocks waiting to stop them up. All the while Bart makes Peggy promise not to shoot anything, because he still is totally opposed to killing people.
It seems like things might end peaceably, except once again the gun-toting lovers are nearly flat broke so Peggy coaxes Bart into one last job to end all jobs. For the first time, despite their planning, just enough goes wrong to nearly botch their mission. Bart drives off and Peggy shoots a guard. He’s not the only one.
The last ditch effort of Bart and Peggy is to literally head for the hills. The dragnet is sent out and the hounds are let loose. They hardly have a chance before dropping from exhaustion in a swamp. They’re trapped and a crazed Peggy looks to shoot it out to the death. But for once Bart breaks with her remembering his friends. It doesn’t help him much.
Gun Crazy is a B-film and yet it is easy to forget, because the way Joseph H. Lewis constructed this film is so impressive in its economy. One scene that reflects this so beautifully is the long take from the back seat of the car. The camera does not change positioning and so we see a bank job from the outside, and it only helps to build up greater tension.
We also have enough time to care about certain characters. We have enough time to see Peggy is really no good. Yet with her keen marksmanship she is a different shade of femme-fatale who is still as deadly as any of her contemporaries. Along with They Live by Night (1948), this is one of the archetypal Bonnie and Clyde-esque films. Thank goodness this film’s title was changed from Deadly is the Female to the more apt Gun Crazy. That it is.