Fred Schaefer
It should be stated up front that we will never get to see the version of PAT GARRETT AND BILLY THE KID that Sam Peckinpah intended for the public; the movie was rushed into release after a truly torturous production in Durango, Mexico, highlighted by a battle between the stubborn director and MGM head James Aubrey. The studio was only interested in a product to pump up the cash flow as it prepared to build The MGM Grand in Las Vegas and thought a Peckinpah western-his biggest since THE WILD BUNCH-would be a huge hit, During the production, Peckinpah, having a distinctive and abiding dislike of the studio brass, often proved to be his own worst enemy when he made no attempt to humor MGM and had the editing taken away from him and his crew. The result, released to theaters in the summer of 1973, was a butchered work that only sporadically hinted at the greatness that could have been. Now thanks to the miracle of DVD, we have two restored versions: the 1988 TCM version and the 2005 Special Edition. Both of them contain scenes slashed out of the original and give a fuller glimpse of the epic Peckinpah wanted and intended to make.These restored "Director's Cuts" make some things very clear:Peckinpah wanted PAT GARRETT AND BILLY THE KID to be another look at his favorite theme of the passing of the Old West and the price that was paid for leaving it behind. The day of the open range is passing for New Mexico, statehood beckons and the veterans of the range wars, Garrett, the Kid and the men that road with them, have to go according to the powers that be (the Santa Fe ring). The older Garrett decides to throw in with the Ring, becomes Sheriff of Lincoln County and agrees to do the dirty work of getting rid of the Kid and the others. But Garrett clearly does not reckon with the guilt that comes with the job and the blood that will ultimately stain his hands. But Peckinpah rewrote much of Rudy Wurlitzer's original script to work in a very contemporary political angle; looking at it another way, PAT GARRETT AND BILLY THE KID is all about the clash between the counter culture of the late 60's and the Establishment. The casting of songwriter and singer Kris Kristofferson only underscored this theme, along with the addition of Bob Dylan to the cast while contributing to one of the all time great soundtracks. The Santa Fe ring that buys off James Coburn's Garrett could easily stand for Richard Nixon and all the reactionary millionaires that poured tons of money into his campaign. In this way Peckinpah was quit ahead of the curve in that when he touched up Wurlitzer's script, the crimes of Watergate were still being covered up successfully. Either way, the movie becomes a sad dirge for not only the passing of the Old West, but for what was best about America itself-a land where a man could be free to live as he pleased. The script, even with Peckinpah's contributions, lacks coherence and is mainly a collection of great set piece scenes, some of them dominated by great veterans of westerns, both of the screen and TV. For no other reason alone, PAT GARRETT AND BILLY THE KID is worth seeing for the cast, which includes: Jason Robards, Jack Elam, Slim PIckens, L.Q. Jones, Katy Jurado, Richard Jaeckel, Paul Fix, Dub Taylor, Elisha Cook Jr., Barry Sullivan, Luke Askew, Harry Dean Stanton, Chill Wills, Richard Bright, Emilio Fernandez, Matt Clark, and R.G. Armstrong. Where was Strother Martin? The shootout with Jones's Black Harris, which culminates with Pickens's death, is one of the most unique things in any western-watch for the expressions on Jurado's face as Pickens faces his last moments. Simply unforgettable; so too is Wills's obscene monologue and Billy's escape from the jail in Lincoln, where he has a final confrontation with Armstrong's fanatical deputy Bob Ollinger. There are also many others like Garrett's confrontation with the man on the raft that are rightly legendary. All of it livened up with some of the most memorable dialogue in any western.It is also clear that Peckinpah's considerable talent was starting to wane by the time he made this film-there is some clunky symbolism, such as Billy taking an open armed Christ on the cross stance when arrested by Garrett, and other scenes (Paco's death) are just badly written in a way that the Peckinpah at the top of his game would never have filmed.Still, PAT GARRETT AND BILLY THE KID is the great master's last western, a genre he loved dearly, and if it is not perfect (and non Peckinpah fans can find many faults), he still managed to say what he meant and get what he wanted up on the screen. It really does hold up.
bkoganbing
Like the OK Corral gunfight and the saga of Jesse James, Pat Garrett & Billy The Kid has entered our national mythology and every generation is compelled to have it retold. James Coburn and Kris Kristofferson play the title roles in this epic western from Sam Peckinpah who curiously enough did not turn this into one of his violence ballets like The Wild Bunch.No new facts are uncovered,no new ground is broken here. Former saddlemates Coburn and Kristofferson have parted. In the recent Lincoln County War they were together in the employ of John Chisum played here by Barry Sullivan fighting the Santa Fe Ring. That war is over, for cinematic reference see Chisum and the first Young Guns movie. But Billy won't leave his outlaw ways.Just like soldiers in a war and remember this was the Lincoln County War as the state saw it and the locals called it, when peace breaks out soldiers who've learned violent ways as mercenaries now have those skills and little else. So one either goes into law enforcement or outlawry.Which are the divergent paths that these former friends have taken. Coburn has now the duty to bring in his former saddle pal however, a mandate that comes from Lew Wallace the Territorial Governor of New Mexico and author of Ben-Hur played here by Jason Robards, Jr. It doesn't look good for Kristofferson as a lot of hands are raised against him now.One of my favorite lines from film comes from a John Wayne western Tall In The Saddle where Gabby Hayes says he's all for law and order 'depending on who's dishing it out'. I think there is so much truth to that. In fact it could be Billy The Kid's creed in this film.Sam Peckinpah did a wonderful job in telling this tale once again for the big screen. Also nice to see such stalwart western faces as Chill Wills and Jack Elam. And R.G. Armstrong is wonderful as the self righteous deputy sheriff who Kristofferson blasts into the next world.For western fans an absolute must.
Robert Peach
I saw this was on TCM the other night and I recorded it, merely because I knew it was supposed to be good and I hadn't seen a Peckinpah film before. Despite how massive TCM's black screen banners are, and despite how quiet the film was, it still kept me engaged. James Coburns' masterful performance as wrinkly bandit Pat Garret was smouldering, his lawman bubbled with a mix of sadism, violence, and broken honour. He was far and away the best actor in the film. Comparatively, Kris Kristofferson just didn't hold up, I just plain didn't like him, and he didn't come across strongly enough as anything. It seems to me he's grown more expressive and nuanced as he's gotten older, though it may just be that against a giant like Coburn he seemed like little more than a distraction.Though his performance was woeful, Dylan's soundtrack is a thing of beauty and joy, setting the tone of the movie, perfectly complimenting some scenes and brilliantly offsetting others. The scene in which Knocking On Heavens Door is used is possibly one of the most beautiful and moving sequences in any film I've seen, it was utterly breathtaking.Much of that is done by the cinematography, which is frequently fantastic. There are several shots that had my mouth wide open, agape. Peckinpah is also well versed in directing shoot-out's,and building tension before and after. Though the make up and special effects look laughable now, the brutality and voyeurism of the violence haven't faded one iota.The print was very quiet though, so it was often hard to decipher what people were saying. As such, there were various moments when I was just waiting for the next scene, as the one playing was too quiet to enjoy. This is a film that I can't wait to watch again, and will certainly be buying on DVD, along with the soundtrack on CD. A brilliant, moving western from a great director.
