DIRECTOR SAM PECKINPAH’S MASTERPIECE IS A WORLD CLASS WESTERN,NOTABLE FOR ITS DARING CINEMATOGRAPHY AND LANDMARK VIOLENCE.Here’s how director Sam Peckinpah described his motivation behind The Wild Bunch at the time of the film’s 1969 release: “I was trying to tell a simple story about bad men in changing times. The Wild Bunch is simply what happens when killers go to Mexico. The strange thing is you feel a great sense of loss when these killers reach the end of the line.” All of these statements are true, but they don’t begin to cover the impact that Peckinpah’s film had on the evolution of American movies. Now the film is most widely recognized as a milestone event in the escalation of screen violence, but that’s a label of limited perspective. Of course, Peckinpah’s bloody climactic gunfight became a masterfully directed, photographed, and edited ballet of graphic violence that transcended the conventional Western and moved into a slow-motion realm of pure cinematic intensity. But the film–surely one of the greatest Westerns ever made–is also a richly thematic tale of, as Peckinpah said, “bad men in changing times.” The year is 1913 and the fading band of thieves known as the Wild Bunch (led by William Holden as Pike) decide to pull one last job before retirement. But an ambush foils their plans, and Peckinpah’s film becomes an epic yet intimate tale of betrayed loyalties, tenacious rivalry, and the bunch’s dogged determination to maintain their fading code of honor among thieves. The 144-minute director’s cut enhances the theme of male bonding that recurs in many of Peckinpah’s films, restoring deleted scenes to deepen the viewer’s understanding of the friendship turned rivalry between Pike and his former friend Deke Thornton (Robert Ryan), who now leads a posse in pursuit of the bunch, a dimension that adds resonance to an already classic American film. The Wild Bunch is a masterpiece that should not be defined strictly in terms of its violence, but as a story of mythic proportion, brimming with rich characters and dialogue and the bittersweet irony of outlaw traditions on the wane. –Jeff Shannon One of the best action movies ever made, in a cleaned-up print restoring crucial parts of the story. No cavalry ever rode in with more epochal impact than the Wild Bunch in the legendary opening scene. Their steel-eyed leader, Pike (William Holden), and his robbers in stolen army uniforms help an old lady across the street, and then spark a massacre led by Pike’s old crony Thornton (Robert Ryan), sprung from jail to hunt down his old gang. In just a few minutes, Sam Peckinpah sets the scene–a dusty Texas town in 1913–sketches a dozen vividly individualized characters, and choreographs one of the most realistic, influential, brilliantly photographed shootouts under the pitiless sun. The cast is superb (even Ernest Borgnine!), the dialog crackling, the bitterly ambiguous moral of the story hard-earned. It’s the deeper, dark flip side to 1969′s Butch Cassidy and the Sundance Kid. Consider buying the letterbox Wild Bunch, the review collection Doing It Right, and the Peckinpah bio “If They Move… Kill ‘Em!” –Tim Appelo
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March 29, 2008
#1
This has to be the most overrated film I’ve seen in a long time. The directing is atrocious! The acting is far below what these actors are capable of, and this is certainly the result of the poor directing. The story is choppy and the whole thing lifeless. Don’t waste your money–it’s not even worth the shipping charge even if you can get it for less than a dollar. To call this thing a classic is beyond belief!
March 29, 2008
#2
I finally get it – it’s a comedy!
Most Barcalounger Western fans consider director Sam Peckinpah’s western to be a seminal work in the genre. I guess this is because Peckinpah depicted people being shot as though they were actually taking a bullet. Prior to this, characters in Westerns would clutch their stomachs, call out for their Mommas and fall to the ground in dramatic Shakespearean fashion. Why critics thought this film was especially groundbreaking probably has to do with the fact that most film critics are lucky if they can make it to the popcorn stand and back without breaking a sweat. In other words, their range of actual experience is semi-limited and seeing somebody get realistically shot seemed new and cool at the time.
And of course it’s all the rage now to glorify a director of Peckinpah’s “vision”, much like Stanley Kubrick. Movies don’t have to entertain anymore, or make any sense as long as they’re different and The Wild Bunch is different-as far as I know we even have the genre’s first two gay killers in LQ Jones and Strother Martin. Now these two are FUNNY, but not as funny as General Mapache with his finger superglued to the trigger of a Gatling gun. Now THAT was funny!
Yes, the Western was dying as a genre in 1969 and the characters in the film were dying as viable villains and that does lend itself to overzealous analysis. Thats fine, but over 3600 scene-to-scene cuts/edits goes way past the point of reasonableness. It leaves the viewer dizzy in the wake of a director’s blatant self-indulgence and disregard for his audience and honestly it’s just plain tiresome to watch.
My Opinion: Overrated with a capital “O” as well as overlong. I will give credit to the director for his obvious passion for creativity, but does it work-NO! Aside from the blood and guts this film’s departure from the tried and true western formula leaves you flat- there aren’t any “good guys” in this movie. There was no one to root for or against-you just don’t care one way or the other. This movie is totally pointless and the director knows this, it’s a joke on the audience exemplified by the whiskey bottle scene where Warren Oates is left holding the empty bottle with nothing to drink- it’s a metaphor for what you are left holding at the end of the movie-NOTHING.
Even the famous “walk” into Mapache’s compound for the showdown is hilarious…with shotguns casually cradled in their arms and a dumb grin on their face these guys look more like they’re going duck hunting, not marching to their almost inevitable demise. “Glory through stupidity” is what I think the director is trying to convey in this scene.
And although the big gun fight may have been groundbreaking at the time, I find it just doesn’t make this movie into a classic all by itself. The entire rest of this film is mediocre at best. The bridge scene is the clear highlight of the film but where are the multiple camera angles when you really need them? Not only is this NOT the greatest Western of all time, and not even close to being one of the top 50 Westerns ever made, it’s not even Peckinpah’s best Western – that honor belongs to “Ride the High Country,” a much less grotesque and far superior film.
Final analysis: It’s a joke on the public and the critics, all who refuse to say anything negative about this film. The final shoot out is hysterical and it offers William Holden’s best line of the movie…”Bitch.” Take a cue from Edmund O’Brien and Robert Ryan in the final scene….they’re laughing along with the rest of the cast via flashbacks and so am I at anyone who thinks this is some sort of masterpiece. Is it creative film making-yes, does it pass for entertainment-NO, is it any good-Hell NO! To those of you that insist this is the “greatest western of all time” I submit you don’t know a hell of a lot about westerns. My suggestion to you all is to go rent the Trinity series, Lucky Luke, and Zachariah-you’ll find them just as appealing as they are stupid and irrelevant, much like the Wild Bunch. Oh yeah, and don’t forget to pick up a copy of Pat Garrett and Billy the Kid while you’re out, it’s even worse. 2 black cats
March 29, 2008
#3
I RETURNED THIS ITEM ON NOVEMBER 19TH AND I’M STILL WAITING TO RECEIVE THEIR RECEIPT CONFIRMATION!!!!!!!!!!!
March 29, 2008
#4
One should never confuse “first” with “best.” Some reviewers seem to have done that. Peckinpah has put together a good movie, and was the first to put togather a “ballet of bullets.” But other directors have done better. The movie is just too long and meandering; too many diversions from the theme.
Interestingly, the scenes that stick in my mind are the mini-metaphor of the scorpions overcome by the ants, and the woman shooting one of the Wild Bunch in the back.
March 29, 2008
#5
The Wild Bunch (Sam Peckinpah, 1969)
I will readily admit that my confusion over the prominence of The Wild Bunch in the annals of film criticism probably stems from my having bought into the hype. When I hear people wax poetic about the movie, one thing always comes to the surface sooner or later–the previously unheard-of level of violence in the movie. Here I was expecting something… different; even the tamest giallo lords it over The Wild Bunch in terms of violence. Mario Bava was doing it years before. What makes Peckinpah’s opus so special? Not the violence.
The other thing that seems to come up often is that Peckinpah’s version of the west is decidedly different than that which had been offered before, but again I head back to Italy, and this time flog the dead horse of Sergio Leone, whose westerns were riddled with grey areas long before this.
Okay, so Peckinpah was the first guy to do it in America. And it got John Wayne pretty mad. (But, really, he was already mad at Clint Eastwood for the Leone movies.) But from every other standpoint–plot, characters, pacing, cinematography, direction–Peckinpah has done better. (The pinnacle came three years later with Straw Dogs.) It’s not bad, but don’t go into it expecting one of the greatest films of all time, or you’re bound to be disappointed. ***