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209.180.232.133
the aging actors Joel McCrea and Randolph Scott.
Not much to say here: the film showcases not only brilliant Panavision cinematography but a rousing story which covers what would be recurring themes in the Peckinpah oeuvre: loyalty; the disappearing Western American way of life; the challenge of keeping one's beliefs in a violent world.
With most Westerns, one must suspend belief. In this one, McCrea and Scott are so natural that the outcomes seem as irresistible as those of a Greek tragedy.
Unlike Ford's black-and-white world, that of Peckinpah is nuanced, fraught with gray areas. In Europe, the film was a smash immediately upon release, besting Fellini's "8 1/2" in both Belgian and Parisian film awards. In the US, the modernization of the Western took a bit longer to become popular but finally the film has been placed alongside the greatest of the genre.
The DVD has several excellent extras, especially an extended interview with the director's sister who gives fascinating insight into Sam's formative years on the ranch, in the service, and in the industry.
Follow Ups:
I've seen it once, quite a while back, and do not remember being overly
impressed by it. But that's OK. Sam is still my man; he made several
of my favorite films: The Wild Bunch, Ballad of Cable Hogue, Straw
Dogs, Junior Bonner.
Mike K
it's in the queue.
I really appreciate the heads-up for older gems that this blog provides. Not that there's anything wrong with back and forth discussions of the current crop, but these forums are the only real knowledge source for good, off-the-radar films-or just older movies that are well known, but provide a reminder to watch again.
BTW, it bears repeating that, with the availability of a vast film library at our fingertips, and the ability to enjoy them large-screen at our homes, we're living in a golden age. Pretty cool.
"dammit"
Donīt you find good old Sam to violent?
A kind of violence I donīt like.
But anyway a good film maker.
d
I know I know, I was speaking on the whole of his work.
It got with time more and more violent.
;O)
Some consider it Peckinpah's finest film. I don't agree but it's certainly a great work. Wasn't it Randolph Scott's final film? And the young Mariette Hartley certainly made an impression. This film is way too good to be so unknown! Let's hope this thread you've started might encourage some member to go out and rent a Peckinpah film.
They won't regret it.
violence and gore period.
I liked the Getaway flick.
AS for the rest..well mixed feelings. Like you said too violent and this boring slow motion so 70īs.
for me, simply the best.
The whole long languid ride through the deserts of Mexico is brilliant in every aspect. The cast is about perfect, even including the seemingly odd choice of Ernest Borgnine. And the end is utter violence. But it is a violent end chosen as a final statement by some men that have chosen to sacrifice themselves. It's one I've seen many times and will see many more.
nt
but is his candid gore any more shocking than the scene in "The Dirty Dozen" where the boys poured gasoline into the air raid shelter vents and burned and suffocated the Nazi officers and their guests? No gore there but it was plenty disturbing. Still, I certainly understand why some feel it extreme.
One thing about a Peckinpah film is that no one ever left the theater bored.
But you make an interesting comparison. Aldrich made some violent films-see "Ulzana's Raid" sometime-and he was a much more successful director than Peckinpah. I think SP's vision of the west was visually more dynamic (maybe bombastic) than that of Aldrich. But they were both really excellent, entertaining filmmakers. I can't think of whose work I like more. Both made big bombs, and both died younger than they should have. The 60's and early 70's were a kind of golden age for westerns (the last, I think), so many good ones.
d
or at least one of my favorites. His ability to maintain a subtly consistent mood throughout, the perfect casting (Beatty's typical handsome, charming, and likable dolt on-screen persona was perfect for the part), the location verite (the town seemed as raw as I'm sure a real town would have been, and the final gunfight in the (genuine!) snowstorm is as authentic as it gets). Leonard Cohen-and of course, Vilmos Zsigmond...
One of my all time favorite movies-too bad no one wrote a book about it before Altman's death.
"dammit"
Julie Christie!
letting the viewer's imagination work (wow, those Nazis must be burning up!) if far more effective and less disturbing than showing the men enflamed, screaming, features melting.
Good directing, writing, and editing always will trump overindulgence.
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