Saturday, August 29, 2009

1973: Pat Garrett and Billy the Kid (Sam Peckinpah)

Released: May 23, 1973

Director:
Sam Peckinpah; Screenplay: Rudy Wurlitzer; Cinematography: John Coquillon; Studio: Metro-Goldwyn-Mayer (original release), Warner Bros. (DVD); Producer: Gordon Carroll

Cast: James Coburn (Sheriff Pat Garrett), Kris Kristofferson (Billy the Kid), Bob Dylan (Alias), Richard Jaeckel (Sheriff Kip McKinney), Slim Pickens (Sheriff Colin Baker), Katy Jurado (Mrs. Baker), Chill Willis (Lemuel), Jason Robards (Governor Lew Wallace), R. G. Armstrong (Dept. Sheriff Bob Ollinger), Jack Elam (Alamosa Bill), Matt Clark (Dept. Sheriff J.W. Bell), Emilio Fernandez (Paco), Barry Sullivan (John Chisum)

- "Garrett: It... feels like times have changed.
The Kid: Times maybe, but not me."

There is one indelible sequence that remains with me from this film, almost haunts me really. Not haunts in the sense of scaring me or making me terrified, but leaving me in awe of how powerful an image can be. Amazingly, it’s not even an event that bears much significance in the central game of cat-and-mouse between the two titled characters. It is the walk to his death by Sheriff Colin Baker, played by veteran actor Slim Pickens. Mortally wounded while assisting Pat Garrett in a shootout, it as if Baker knows that that this will be the end. Mounting all of his strength, he begins to slowly stumble away from the site of the shooting, walking into the the colorful horizon toward a stream. Nearby, his wife sees him taking his final steps and lets out a wail, but nothing can stop the determined Baker on his death march. All of this action is set the to the strains of one of my favorite Bob Dylan songs, “Knockin’ On Heaven’s Door,” for which there could have not have been a more appropriate use. This scene epitomizes what made me fall in love with this film – the lyrical beauty of it all. For a director known for his excessive violence and hardened personality, this scene was the one that made me realize that there was more to the work of Sam Peckinpah than is commonly cited.


Much maligned upon its release, the troubles and pitfalls experienced during shooting and post-production are legendary. Filming was a near disaster, with many crew members catching the flu and technical difficulties being commonplace. Peckinpah continually clashed with MGM president James Aubrey, asking for both extra time and money that Aubrey was unwilling to grant. The director soldiered on, doing his best to see his own vision realized, which meant drafting local Mexican citizens to work as crew members and shooting some scenes without Aubrey’s knowledge. All of this meant that the movie was finished weeks after its expected completion date and ran well over budget. Still, despite all the trouble, Peckinpah felt that his original cut of the movie was among the finest films that he had ever made. As was to be expected, Aubrey disagreed and demanded that certain sequences in the film be removed. With control of MGM, Aubrey ultimately won, taking over post-production and significantly trimming the length. Peckinpah himself thought so little of the cut eventually released by the studio that he sued MGM in order to have his name removed from the credits.

Thankfully, rumors surrounding alternate cuts of the film continued to swirl in Hollywood and among movie fans, and eventually such versions closer to the original vision of Peckinpah would be released. In 1988, Turner Entertainment released a director’s cut of the film, restoring it to 122 minutes in length and causing many detractors of the film to reevaluate its merits. Later, in 2005, a DVD version would combine certain elements of both the theatrical release and the 1988 rerelease, resulting in a version slightly shorter in length than the director’s cut, but touted as being as close to the vision of Peckinpah as could be reached. It’s worth pointing out that in this write-up, I’m speaking to the 1988 and 2005 versions of the film. There is debate among which of the two is superior, but both are amazing films. Both include key elements that were absent in the theatrical version that elevate the film to a masterpiece in my opinion. If forced to choose, I would definitely say that the 1988 version is superior to all other cuts, but either of the two are worth seeing for someone watching for the first time. It’s also worth noting that I’ve come to this film very recently, having watched the two latest versions only within the last month or two and immediately fell in love with it. For someone who has never been a huge Peckinpah fan, even I was shocked at how quickly I was drawn to it.


The story, not surprisingly based on its very literal title, follows the final days of Billy the Kid (Kris Kristofferson), the most famous of western outlaws in the late 1870s and 80s. Among his many comrades and friends is Pat Garrett (James Coburn), who once rode with The Kid but has now been hired as sheriff in order to clear him out of the New Mexico territory. With anyone at all familiar with western mythology or the legend of Billy the Kid, the ultimate conclusion of the story is never in doubt – Garret shot and killed the outlaw at Fort Sumner in 1881. The drama and tension of the story comes from the uncertainty over Garrett’s own conviction to follow through on the job that he was hired to perform. Early in the film, there is a scene in which Garrett warns Billy that he is now the sheriff and that he intends to rid New Mexico of him, whether that means chasing him out of the territory or killing him. It is as if Garrett is pleading with his old pal to leave for Old Mexico and not to make him have to kill him. He is telling him, like a father would a son, that the days of the renegade outlaw are over. But Billy, brash as always, refuses to heed the warning.


For all of the moments of bloodshed and shootouts that are found whenever Peckinpah is in the director’s seat, things are at times quite leisurely. This lilting pace gives the film a very dreamlike quality, which works perfectly and very much appealed to me. In this sense, the 1988 version of the film gets it right by inserting key sequences at the beginning and end of the film. In these sequences, we see an aged Pat Garrett as he is ambushed and killed. In the midst of the gunfire that will claim his life, the picture jumps back and forth to Garrett having flashbacks of his friendship with Billy the Kid. The ’88 version closes with similar shots of Garrett’s death, while the 2005 version uses only the flashback sequence in the opening. Both work, in my opinion, as it is necessary to set the proper tone for the dreamy feeling of the entire film -- although, admittedly, the 1988 is probably the better version. Also helping in creating the dreamlike effect is the fact that the strains of Bob Dylan’s soundtrack is always to be heard in the background, accentuating the beauty of shots created by Peckinpah and cinematographer John Coquillon. The movie in turn flows like the slow-moving river that Slim Pickens marches toward in his death scene, as if the audience is being bounced from one fleeting memory to another on the journey toward the end of the outlaw era.


While not earth-shattering, the performances are universally solid and the two leads give Pat Garrett and Billy the Kid very distinct and vibrant personalities. As played by Coburn, Garrett is the brooding ex-gunman who longs to be seen as a professional. In the Kid, Kristofferson plays him as impetuous as the historical record seems to indicate, while at the same time making the outlaw very likable. But in the end, the individual performances are not what is most striking about the overall production. At the risk of sounding like a broken record, it’s the dreamlike quality and the sense that you are watching a requiem mass for a man and an era that makes it for me. I have often seen Pat Garret and Billy the Kid referred to as a revisionist western, but I think that this is something of a misnomer, as it has a different feel from other films that are categorized as such. To me, Pat Garrett and Billy the Kid as brought to life by Peckinpah actually are romantic figures, but ones that have simply outlived their time and usefulness.

I may be partial due to a lifelong fascination with Billy the Kid, but I don’t hesitate in declaring this to be the finest work that I have seen from Sam Peckinpah. If you haven’t seen the two restored cuts of the film, you owe it to yourself to at least give them a shot. Chances are, they still will not be for everyone, but they are worth seeing for any fans of Peckinpah or westerns in general.

Rating: 10/10 (It was a 9 until I watched it again shortly before posting this and it got upped -- it's that great of an experience for me.)

Other Contenders for 1973: Had I not seen Pat Garrett and Billy the Kid before I got to this year in the countdown, there is really no doubt in my mind that George Lucas’ American Graffiti would have been my selection. I’m a sucker for well done nostalgia films and that one fits the bill perfectly. Lucas would go on to bigger blockbusters, but in my opinion he would never direct another film to equal American Graffiti. This is another year of many solid films, all bunched together behind the Peckinpah. Clint Eastwood’s High Plains Drifter, the first western that the icon ever directed, is outstanding. Robert Altman’s take on the Philip Marlow character in The Long Goodbye is a must see. George Roy Hill made another Newman-Redford collaboration with The Sting, which I always find entertaining. My favorite Peter Bogdanovich movie is actually Paper Moon, which I know puts me in the minority. Martin Scorsese makes his first great gangster film with Mean Streets, and while I don’t rate it quite as highly as some others, it’s still one that needs to be seen. Don’t Look Now, from Nicholas Roeg, is at times chilling. And finally, The Spirit of the Beehive, from director Victor Erice, is one I’ve just recently seen but it’s quite good.

One movie I’ll have to point out that I’m not including is Badlands from Terrence Malick. Malick is among a handful of my favorite directors, but I have the unique opinion of his films that he has actually improved with each release, so I don’t rate Badlands as highly as most Malick enthusiasts.

All in all, though, a very deep year.

250 comments:

  1. I have always thought this film was better than the critics at the time gave it credit for. I have not seen any other version but the original release, though you have whetted my appetite to get a copy of the DVD with the longer cut.

    Excellent insight into this film and Dylan’s song “Knockin’ on Heaven’s Door” is haunting on its own but as used in the film it is exponentially more so. During this period, MGM was in turmoil, and the fools in charged ruined many works during this period.

    For my number 1 pick I am going with a film that has been close to my heart since I first saw it at the Cinema 1 theater in NYC, The filmmaker has been a symbol to me as the young man as a artist/filmmaker and has evolved into teacher, and one of America’s greatest film directors. No one has created a milieu for life in the streets of Little Italy during that period better than Martin Scorsese.

    #1 Mean Streets

    American Graffiti
    Pat Garrett and Billy the Kid
    Badlands
    Paper Moon
    The Last Detail
    Don’t Look Now
    Last Tango in Paris
    Serpico
    Sleeper
    The Exorcist
    Day for Night
    Scarecrow

    ReplyDelete
  2. John - Excellent choice. That indy feel that Mean Streets has fits it so perfectly. These aren't the romanticized gangsters of The Godfather, these are street kids just trying to make a few bucks however they can. That feeling really comes across.

    And the other thing brilliant about the film: the soundtrack. I have heard that Scorsese personally picked the rock songs used, but I don't know if that is completely true or not. Regardless, still great use of pop music.

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  3. My Own #1 Film of 1973:

    The Mother and the Whore (Eustache; France)


    Runners-Up:

    The Spirit of the Beehive (Erice; Spain)
    Badlands (Malick; USA)
    La Grande Bouffe (Ferreri; Italy)
    Distant Thunder (S. Ray; India)
    The Wicker Man (Hardy; UK)
    Brother Sun Sister Moon (Zeffirelli; Italy; USA)
    Lost Horizon (Jarrott; USA)
    Sleeper (Allen; USA)
    A River Called Titas (Ghitak; India)
    O Lucky Man! (Anderson; UK)
    Part Time Work of A Domestic Slave (Kluge; Germany)
    A Touch of Class (Frank; UK)

    Well Dave, in no year during this glorious countdown have you and I parted company so dramatically. I am no fan of PAT GARRETT (as you and John are) and I adore BADLANDS, which comes close to my top spot. To further illustrate the disparity, I love Altman, but not THE LONG GOODBYE so much, and I am indifferent towards AMERICAN GRAFFITI. So there you have it. We will probably never disagree this much ever again, but there's this one instance.
    BTW, my choice of the Ross Hunter musical remake of LOST HORIZON is not any kind of a joke placement. I believe this film got unfairly railroaded, and now over 35 years later, many are rallying around it in the critical establishment, as well they should.

    Again, your passion, knowledge and appreciation collaborate on a superb essay defending your choice here.

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  4. Sam - I knew that you were not a fan of Pat Garrett, as I remember your comment when Allan chose it in his 70s countdown. I didn't expect to respond to this is much as I did, but something about it has taken me. I've watched it many times in just the last few weeks, captivated. Having never been a huge Peckinpah fan made it even more shocking how much I liked it.

    As I said, I know my position in ranking of Malick films is probably in the extreme minority. I won't give away too much in revealing that there will definitely be at least one Malick popping up in countdown.

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  5. Dave, you cited my favorite scene in a film that's far from my favorite, and I also like a barroom scene in which Coburn is incredibly intimidating. But it took me a long time to warm to Kris Kristofferson as an actor and Pat Garrett didn't exactly speed things along. But I can see why other would respond more positively to him, particularly when you describe what his characterization represents to you.

    I'm going with the uncanny Spirit of the Beehive as my favorite of 1973, followed by The Long Goodbye, Fellini's Amarcord, Sleeper, Mean Streets, Badlands, Peter Yates's The Friends of Eddie Coyle and the first three films of Kinji Fukasaku's extraordinary "Yakuza Papers" series: Battles Without Honor and Humanity, Deadly Fight in Hiroshima and Proxy Wars. The longer the eerie memories of Beehive last in you consciousness, the higher I expect it to rise in your ranking.

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  6. I'm a big fan of Bob Dylan and love Knockin' on Heaven's Door, which was the song that first made me discover his music - I was 13 when this film was released, and quickly fell in love with all his songs from the 1960s. However, must admit I'm another one who has never much liked 'Pat Garrett and Billy the Kid' itself, though you have put a persuasive case for it.

    I can't decide what order I'd put them in, as it's a long time since I saw some of these, but I love 'Mean Streets', 'A Touch of Class' (when I first saw this, the video recording ended a couple of minutes before the end and it was about 12 months before I managed to see a repeat and found out what happened!), 'The Spirit of the Beehive', 'American Graffiti' and 'Don't Look Now'. Judy

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  7. I still haven't seen this movie, and was not in a huge rush to do so, though - given various factors - it was bound to happen in the next 6 months or so. You've made me quite excited about it now, though - particularly imagining Slim Pickens' death scene to "Knockin' on Heaven's Door" is already giving me goosebumps. And I haven't even seen the movie! But I do love great uses of pop music in movies.

    Which is why Mean Streets is my #1 - when I first saw it years ago I thought it interesting but very dated and rough around the edges. I fell in love watching the beginning years later, when "Be My Baby" kicks in as Harvey Keitel's head hits the pillow and Scorsese cuts to the projector, then the quick-cut home movie climaxing with the typewritten title popping up over a freeze frame in time to the chorus, I fell in love. Great uses of the Rolling Stones too, as always with Marty.

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