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…
Viewed the 1988 Turner Preview Version.
Peckinpah's first-cut, 122-minute preview version was not meant to be his final cut. Immediately after its screening, an MGM studio exec wrenched the film from Peckinpah's control and had it chopped to 96 minutes for theatrical release. The preview print was stolen by a couple of Peckinpah's loyal editors from the screening room, and the director would screen it for family and friends in the years afterward. Peckinpah felt that, while not the definitive cut, it was closest to his vision. Eventually, it was publicly screened in 1998 and led to a reevaluation. In 2005 a special edition was released that gave Peckinpah's editors another shot (without the guidance of the director who died…
Very cool. Great soundtrack.
It's missing the narrative drive and cohesion of Peckinpah's earlier westerns and the misogyny that started in Cable Hogue is still on full display here. But the quieter moments can actually be pretty touching and the action is as compelling as always.
Definitely one of those films for people who are already converted to the Church of Peckinpah. If you criticize it, you are criticizing what he represents. The film is a projection of his persona more than it is even a narrative. Why does the blood look like red paint? What made this character such a fatalist? Why do these prostitutes seem to be enjoying themselves so much? If you have to ask, then you don't get it.
And I kind of don't get it. The editing is graceful, especially in the final ten minutes and the elegiac "Knockin' on Heaven's Door" montage. Bob Dylan's performance is distracting, but his songs unify the film in a way that the script could…
Admittedly not doing nothing Ford or Shane didn't already do, but its breathtaking in execution. Kristofferson running around like a displaced hippie, the way everyone loosely fools around with death until it actual hits them. The first use of Knockin' on Heaven's Door is beautiful.
Five stars for Dylan's soundtrack
The swansong of a myth. The dissolution of a friendship.
Internalization of pain and emotional turmoil through an externalization of masculinity, pride, duty and reputation. I never ever ever get on with Peckinpah films in general but theres an eye-of-the-storm poetry and whiskey-soaked regret to the film and the way its shot that i couldnt fucking resist. Even Bob Dylan's (who i am also not a fan of) soundtrack is so beautiful and gentle and dovetailing to the genre as a WHOLE, that when "knockin on heavens door" plays when a minor character dies? i cried.
God is god.
Law is god.
Lawlessness is god.
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!!!
All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
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