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…
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Sam Peckinpah directs James Coburn, Kris Kristofferson and Bob Dylan, who also provides the soundtrack...
What's not to like?
It's bloody good.
It's disorienting for me to see Kris Kristofferson without facial hair. It really does bring Kurt Russell to mind.
Existe um frescor na maneira como Sam Peckinpah conduz seu faroeste que impede PAT GARRETT & BILLY THE KID de ser uma chatice absoluta. Como bem apontado por Roger Ebert em sua crítica (www.rogerebert.com/reviews/pat-garrett-and-billy-t...), a MGM precisou contratar seis montadores para finalizar um filme que claramente enfrentou problemas em sua produção. Minha principal crítica ao filme é o fato dele ser espacialmente confuso: os personagens saem de um ponto A e chegam num ponto B de maneira desordenada. Entretanto, momentos pontuais como a sequência final super simbólica com Pat Garrett se encarando no espelho quebrado e logo depois sentado na varanda com os olhos no horizonte são o que mantém o brilho desta obra. Ah, sem contar, claro, a onipresença de Bob Dylan, seja na trilha sonora ou na imagem plácida que permeia todo o filme.
[Restored original cut]
Sam Peckinpah's final western is a stripped down battle between two outlaws that makes for a very somber and soulful experience.
Avoiding the large scale bloodshed of The Wild Bunch, the film opens with the ambush of Pat Garrett for hunting down Billy the Kid. An act treated as betrayal and cowardly, we then go back to see the hunt from it's beginning, understanding the inevitability, we see the relationship between the two carry through, it makes for a very melancholic viewing with the Bob Dylan provided score who also has a role in the film.
Let that not fool you, there's still plenty of suspenseful moments that end with Peckinpah's trademark violence, however there's an element of sadness and serenity to these scenes, including one of the most surreal scenes where one shot person walks out into the sunset.
James Coburn: Who are you?
Bob Dylan: That's a good question.
Works best as a series of heartfelt vignettes rather than a cohesive story. You can kind of tell this movie was made by a drunk bastard. I've seen it three or four times and I'm still not quite sure what's happening most of the time. The 2005 version adds a nice scene or two but clearly alters Peckinpah's original vision. The theatrical cut is superior.
Well made and everyone puts on a great act. But as good as it is it feels like something is missing. But still a fun watch.
In its 2005 re-constructed version, Sam Peckinpah's tale of Pat Garrett and Billy the Kid is one of his finest films as it features great performances from James Coburn and Kris Kristofferson as well as an amazing soundtrack by Bob Dylan.