All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
Pat Garrett & Billy the Kid
Best of enemies. Deadliest of friends.
An aging Pat Garrett is hired as a lawman on behalf of a group of wealthy New Mexico cattle barons--his sole purpose being to bring down his old friend Billy the Kid.
An instant favorite. Peckinpah's direction is brutally poetic, Coburn and Kristofferson hide their inner pain with so much masculinity that it hurts, and Dylan's music is soulfully and reminiscent. Like the rest of Peckinpah filmography I've seen this somehow remains contemplative while also maintaining a breakneck pace. This is a definetly a film that I'll be re watching countless times.
Sam Peckinpah has fascinated me from an early age. Dead before I had really become a fervent movie fan, he did leave the world and me in-particular with some classic films to fall in love with. And that's what I've done during the last 30 years.
Pat Garrett & Billy The Kid was derided when it came out back in 1973. Tinkered with over the years and now reappraised as a genuine Western classic, this has cult status written all over it. There are films that bring out the real film fan in us all. Every now and again you get that moment of celluloid where you lose it and immerse yourself completely in an experience and take something new away…
Few actors have ever been able to hold their own on screen when starring opposite Steve McQueen. James Coburn did it three times, something that the Laurel, Nebraska born native should have been immensely proud of. Firm friends for many years and second only to McQueen himself in the coolness stakes, Coburn was a terrific actor and a true Hollywood legend. During a long and distinguished career he also teamed up with another renegade to stunning effect, a certain Mr Sam Peckinpah, who always brought out the best in the big man.
Pat Garrett & Billy The Kid had a troubled production and a less than glorious reception upon its release. Harried by the studio to deliver the film on time…
There are many things that make this one of my favorite underrated western, but first and foremost is the performance of James Coburn, my favorite of his. The man lives and breathes the old west without opening his mouth. He just has the look. Then he speaks, and has a command that is unquestioned. He is a force at the center of this film and has tremendous natural chemistry with another blindsiding force, Kris Kristofferson. I'm not as familiar with Kris in his younger acting roles, but he somehow fits into this drunken madman world just as seamlessly as Coburn.
The next best thing is of course the wild man direction from Sam Peckinpah. I don't think a drunkard has…
Peckinpah's graphic western is more a nostalgic farewell to a genre that defined his style of editing and views on violence since the early 60s than another revolutionary delivery for the genre it stands for. The Coburn/Kristofferson duo is terrific to look at, as their roles begin to get more obscure as the plot keeps advancing, until you realize that both characters are equally morally rotten, making the scenery of 1881's New Mexico a land of no heroes.
With a soundtrack and a score that invade the film more times than you can count, Pat Garret & Billy the Kid, potentially Peckinpah's weakest film out of his more famous projects, acts as a tribute to the geographical territory that always captivated…
Viewed On TCM
Sam Peckinpah directs James Coburn, Kris Kristofferson and Bob Dylan, who also provides the soundtrack...
What's not to like?
It's bloody good.
I love slow burn westerns. This was definitely fun and pretty awesome. James Coburn is the fucking coolest western actor. I love everything he's in.
I guess this was a thing in the 70s to have folk musicians write the music for westerns. Bob Dylan distracted the hell out of me throughout this film. He almost ruins it for me. But it's such a good film that it didn't really affect it enough for me to not enjoy it.
(1988 Turner Preview Version)
A great opening segment followed by a total mess.
Never been a fan of Peckinpah, but I don't think he has to take all the blame here, since even without knowing the production history anyone could tell that something went wrong in it: the editing is so atrocious that I was retroactively glad to RKO for what they did to 'The Magnificent Ambersons'.
The scenes flows one after the other with no cause and effect, the characters lacks motivation and there's no sense of pacing.
Bob Dylan wrote one of his best song for this movie, and it's effectively used in the most succeded sequence of the film. For the rest the soundtrack just doesn't blend in, much like his character.
*bob dylan stares at billy*
*bob dylan stares at pat*
Seemingly made to undermine itself, Peckinpah's best post-classical film is free form, depressing, unbalanced, and arrhythmic, but it's by no means sloppy. Late Westerns are too often letdowns, treating their cynicism like it's something profound (it ain't), but PAT GARRETT AND BILLY THE KID is inventive and nearly intoxicating in its sadness; it sometimes seems like, instead of merely "dirtying it up," Peckinpah is trying to do with the genre what free jazz did with bop: produce something more unpredictable and fragile, yet grounded in the same smarts and energy. It's been pointed out many times that the various supporting characters are portrayed with much more care and detail than the titular leads (a deathly James Coburn and a relaxed…
"The law's a funny thing, ain't it?"
This film's a cold, nasty, bad-ass thing, ain't it? Walks a fine line between brutal honesty and straight-up brutality.
Somerville Theatre, Somerville, Massachusetts (108 min. version, apparently not the best version)
James Coburn is the man.