Peckinpah Today: New Essays on the Films of Sam Peckinpah

Peckinpah Today: New Essays on the Films of Sam Peckinpah - Michael Bliss - Google Книги

Resulting in a truly visceral experience. As previously mentioned make it a priority to see Straw Dogs. But I would much rather recommend here Junior Bonner since it is often overlooked. It's a very sensitive look at the rodeo as the last, slowly dying remnant of the west, and a family sort of hung over top of that conflict between urbanization and the open west.

Robert Preston and Ida Lupino are particularly touching; and Peckinpah knew how to perfectly use the calm exterior of Steve McQueen to suggest an isolation and refusal to truly connect. He took the Mexicans on their own terms: Bring Me the Head of Alfredo Garcia 4. Cross of Iron 5. The Getaway The Wild Bunch would probably come in sixth. It's not exactly overrated - it IS a terrific movie - but over the years it's reputation has grown to the point that it has become a critical untouchable.

I find the dark humour in Peckinpah much more interesting when it is separated from the Western genre. Although it could be argued convincingly that Straw Dogs , Alfredo Garcia , and The Getaway are just westerns transported to a different time and place. The Getaway is criminally underrated by Peckinpah enthusiasts, mostly due to Ali McGraw's involvement.

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Her performance really isn't bad at all. And the editing in this film is simply stunning. The Wild Bunch would probably come in sixth. Straw Dogs is great but not as much as Alfredo Garcia which remains my favorite Peckinpah film.

It's the only Peckinpah film that really stays with me Somewhat surprised me to see the respect it is getting in the thread but pleased all the same. I have a personal soft spot for The Ballad of Cable Hogue which doesn't seem to be considered up there with his other films which I suppose is understandable. The flash of the The Wild Bunch or as I agree the criminally underrated The Getaway isn't there but theres something about Robards and the films earnest demeanor that really keeps me hooked to it.

I thought the central Steve McQueen-Ali McGraw relationship was quite effective, and the overall chase sequences were very good, but the entire subplot of the Sally Struthers character was completely unnecessary and incredibly offensive. There seemed to be no justification or motivation for why her character would so easily turn on her husband, other than the general idea that a sleazy guy with a gun would make a woman respond that way.

I saw it when I was a lot younger so maybe it didn't just appeal to me then. I remember thinking it was sort of a chore to sit through. But I was wondering if anyone thought it was worth a revisit or what the concensus was on it. I remember a decent looking DVD coming out for it a while ago. And I agree, The Getaway is severely underrated. It was also the first Peckinpah I saw which led me to raid my dad's collection and watch all of the ones he owned and he owns a lot of his films.

While I'd be the first to admit the film has its flaws, I really enjoy it and I think it's interesting to look at it in the context of his other films, not just thematically, but in regards to technique.

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The chase sequence at the beginning echoes the opening shootout from The Wild Bunch in it's distortion of time, for one example. I am going to have to echo the sentiments of most of the posters here and say Bring Me the Head of Alfredo Garcia is his best film and if forced I would say my favorite film period. It is arguably the most personal, certainly the most uncompromising, film of his entire career.

I've met very few people that don't either love it or hate it.

There is no middle ground. For this reason, and this reason only, I would be reluctant to recommend it to a Peckinpah novice. That said, I just this week turned a friend - a non-Peckinpah fan - on to this film, which I consider a personal victory. As for the proposed Benicio Del Toro remake, I think he could actually pull it off.

But then again, what's the point? They'd probably put a Hollywood ending on it where Benny rides off into the sun with the money Both suffer from silly scripts and unlikeable, two-dimensional characters. The Osterman DVD is terrific, though. The Ballad of Cable Hogue is a strange one. Robards's performance is great, but the tone swings wildly between revenge drama and bawdy sex comedy. As I said earlier, I love the humour in Peckinpah's work, but this is one that would have been better played straight.

Sam Peckinpah

The two are almost direct opposites of each other - compare the use of fast motion as opposed to slow motion inserts, the Temperance Union meeting with the R. Armstrong preacher scene, etc. It is tempting to conclude that this was a conscious reaction to the success of The Wild Bunch , but by all accounts the principal photography of Cable Hogue was already in the can by the time The Wild Bunch was released. Even his worst movies mind you, I've never seen Convoy have great sequences, and many of his best films have serious flaws.

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In his essay on Straw Dogs, film critic Michael Sragow reveals how Peckinpah and co-scriptwriter David Zelag Goodman transformed a pulp novel into a powerful film. Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide.

Forged from a partnership between a university press and a library, Project MUSE is a trusted part of the academic and scholarly community it serves. Built on the Johns Hopkins University Campus. This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless. New Essays on the Films of Sam Peckinpah. The Deadly Companions Revisited pp. Martyred Slaves of Time: The Ballad of Divine Retribution pp.