Movies that are slightly off.
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 rewatching countless times.
"Maybe he wants to have a drink with me."
Dishonorable poem of poetic dishonor. Socially conscious, post-counterculture, rock & roll western. The story of a man who doesn't want to run being chased by a man who doesn't want to catch him. Lethargy. Inertia. Stasis.
The western genre is typically characterized by a conflict between regretful mourning for the loss of the frontier and cautious optimism for the approach of civilization, but where the prototypical western myth tends to celebrate the arrival of civilized society, Peckinpah is more hesitant to embrace this socialization. While historically located in the same time period as most westerns (it takes place one year after Stagecoach), Pat Garrett & Billy the Kid restricts itself almost single-mindedly to…
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…
The Western as a cinematic artform has been with us since the very beginning. As if film was created, and cinemas built, to capture Westward expansion in the way literature and art could not. The visual splendour of the desolate land, the inherent lyricism of nature combined better on screen than in any other medium. Perhaps even better than in life itself. What makes the greatest Western of all time? It would have to be inclusive, if not restricted, to encompass all of the major sub-genres that proliferate the main subject as a whole. The greatest Western ever made would have to have elements of manifest destiny, following the American Dream in this most American of artform, the darkness of…
"You made me have a bowel movement in my britches. I ain't never gonna forgive you for that."
Could be retitled "Dylan In The Doorway" as he is also at the film's edges, on the sidelines, literally in several doorways: a mysterious, perhaps naive figure. Rivals MCCABE AND MRS. MILLER for sheer number of grizzled, wrecked men getting eaten up in a land they can't tame. A story of the brutal men who took what they wanted, killed whoever got in their way, and the machine of "law and order" that allowed it to happen. In other words, how the West was won.
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…
Zu Dylan's Ehrentag habe ich mir mal den Film, an dem er am meisten beteiligt war (spielt einen Nebenrolle und seine Musik wird verwendet) angesehen. Im Cast sind außerdem noch Kris Kristofferson, die Westernlegenden James Coburn ("Die glorreichen Sieben"), Katy Juardo ("High Noon") und Jason Robards("Spiel mir das Lied vom Tod"). Kristofferson und Coburn sehen jedoch deutlich älter aus als es Billy the Kid und Pat Garrett 1881 waren. (Coburn war 45 und sah aus wie Ende 50, Garrett war gerade mal 31)
In einer sehr kleinen Nebenrolle ist auch noch Harry Dean Stanton zu sehen, dadurch kann der Film laut Roger Ebert ja schon gar nicht schlecht sein. Und das ist er auch nicht.
Als musikalische Untermalung wurde bei den Film hauptsächlich das Instrumental von "Knockin' on Heavens´Door" verwendet (Falls ich mich nicht irre).
Dann mal noch Happy 75th Birthday Bob Dylan!!!
Movies about the death of the West are the best kind of Western. While the death of the West signaled a marked improvement in every way for everyday life, it left an entire generation in the dust, so to speak.
Per il mondo #PatGarretandBillytheKid sono troppo. Vengono seppelliti in terra di mito, al suonare d'una meravigliosa elegia virile. #privè
The editing and the soundtrack are the real highlights of the film but that's not to say that next to everything else isn't great either, like the cinematography, settings, acting or narrative. This is my first proper Peckinpah and I love it; Pat Garrett & Billy the Kid gives off a super manly vibe and that's expected from what I know about Peckinpah but I also know the dude was super cultured and I feel that this goes deeper than a manly fantasy; he subverts these tropes and encourages us to look beyond that.
Also I love you Bob Dylan but jesus what are you doing with your voice in this
** Review of the 2005 Special Edition edit **
Stylistically, parts of Pat Garrett & Billy The Kid work well, and even near greatness in moments, but too many of its conceits fail to pay off. The large supporting cast of western veterans — such as Katy Jurado, Slim Pickens, Jack Elam and Chill Wills — as worn-out has-beens just trying to survive, is its most poignant success, particularly the sequence set to "Knockin' on Heaven's Door." That scene is actually a good example of how Peckinpah's tendency toward on-the-nose punctuation is simultaneously appealingly innocent and too obvious to take seriously. It's beautiful but utterly un-clever, a dissonance which hurts the movie more than it helps. Dylan's presence on both the…
Sporco e dilatato. La frontiera ormai è come un miraggio che si perde nella calura di un deserto. L'amicizia, un fosco ricordo. Il rimpianto e il peso di una fine di un'epoca, da portare dentro come una colpa. Esteticamente, forse, il miglior lavoro di bloody Sam; con passaggi da mandare a memoria e da tramandare nei secoli a chiunque voglia avvicinarsi alla settima arte (uno per tutti il trasognante momento in cui Baker è ormai esangue sulla riva del fiume, con la Jurado). Indispensabili, come il respiro, i soliti inconfondibili rallenti.
Marchiati a fuoco nella mente: Bob Dylan che legge l'etichette dei barattoli e Garrett che spara al suo riflesso (il senso del film).
Watched the 1988 Preview version. Huge improvement from the 2005 special edition (if improvement is the right word considering it came first, a bit perplexed as to why the special edition was made).
Young Jeff Bridges
Young Kris Kristofferson
Young Kurt Russell
Forlorn and fatalistic. It's not quite somber, but something closer to bruised. The only thing joyous in the film is Billy the Kid's resigned grin. And even that is always a shot away from disappearing. It hurts knowing how much the tone was a manifestation of Peckinpah's state of affairs.
Preview cut. Revisionist, unusual, all of the stuff you sense when outlaw cinema is made by an actual outlaw (I feel something similar when watching Sam Fuller movies). Perhaps it’s unsure of what it laments, as the violence never fades even when industry and ownership take hold, though both those things are clear impediments to freedom (similar to the studio’s rules and proprietary interests, per the Peckinpah reading) - freedom being the one thing that the Kid clearly represents, to where the town practically cheers his escape from jail. The pursuit of the Kid is presented like a memory, a series of ceremonial standoffs and sagacious dying declarations, with many mystical, mournful passages - the momentary standoff between Garrett and…
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