list http://www.spout.com/ Recent community activity around Pat Garrett and Billy the Kid on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Pat_Garrett_and_Billy_the_Kid/26198/default.aspx Title: Pat Garrett and Billy the Kid
Year: 1973
Director: Sam Peckinpah
Plot: A former friend betrays a legendary outlaw in Sam Peckinpah's final Western. Holed up in Fort Sumner with his gang between cattle rustlings, Billy the Kid (Kris Kristofferson) ignores the advice of comrade-turned-lawman Pat Garrett (James Coburn) to escape to Mexico, and he winds up in jail in Lincoln, New Mexico. After Billy theatrically escapes, inspiring enigmatic Lincoln resident Alias (Bob Dylan) to join him, the governor (Jason Robards Jr.) and cattle baron Chisum (Barry Sullivan) requisition Garrett to form a posse and hunt him down. Rather than flee to Mexico when he can, Billy heads back to Fort Sumner, meeting his final destiny at the hands of his friend Pat, who, two decades later, is forced to face the consequences of his own Faustian pact with progress. With a script by Rudolph Wurlitzer, Peckinpah uses the historical basis of Billy's death to eulogize the West dreamily yet violently as it is desecrated by corrupt capitalists. Both Pat and Billy know that their time is passing, as surely as Garrett's posse knows that they are participating in a legend. Using familiar Western players like Slim Pickens and Katy Jurado, Peckinpah underscores the West's existence as a media myth, and he even appears himself as a coffin maker. Just as the bloodletting of Peckinpah's earlier The Wild Bunch (1969) invoked the Vietnam War, the casting of Kristofferson and Dylan alluded to the chaotic late '60s/early '70s present; the counterculture has little place in a corporate future. Also like The Wild Bunch, Pat Garrett was truncated by its studio; the cuts did nothing to help its box office. Key scenes, particularly the framing story of Garrett's fate, have since been restored to the home-video version. In this director's cut, Pat Garrett and Billy the Kid stands as one of Peckinpah's most beautiful and complex films, killing the Western myth even as he salutes it. ~ Lucia Bozzola, All Movie Guide
Times Tagged: 3
Number of Lists: 15
Number of blog posts: 1
Number of discussion threads: 3
SpoutRating: 3
]]>Sun, 17 Aug 2008 22:01:14 GMTPat Garrett and Billy the Kid1973Sam PeckinpahA former friend betrays a legendary outlaw in <a href="/players/P___105940/default.aspx" style='text-decoration:underline'>Sam Peckinpah</a>'s final Western. Holed up in Fort Sumner with his gang between cattle rustlings, Billy the Kid (<a href="/players/P____98154/default.aspx" style='text-decoration:underline'>Kris Kristofferson</a>) ignores the advice of comrade-turned-lawman Pat Garrett (<a href="/players/P___195536/default.aspx" style='text-decoration:underline'>James Coburn</a>) to escape to Mexico, and he winds up in jail in Lincoln, New Mexico. After Billy theatrically escapes, inspiring enigmatic Lincoln resident Alias (<a href="/players/P____88557/default.aspx" style='text-decoration:underline'>Bob Dylan</a>) to join him, the governor (Jason Robards Jr.) and cattle baron Chisum (<a href="/players/P____68973/default.aspx" style='text-decoration:underline'>Barry Sullivan</a>) requisition Garrett to form a posse and hunt him down. Rather than flee to Mexico when he can, Billy heads back to Fort Sumner, meeting his final destiny at the hands of his friend Pat, who, two decades later, is forced to face the consequences of his own Faustian pact with progress. With a script by Rudolph Wurlitzer, Peckinpah uses the historical basis of Billy's death to eulogize the West dreamily yet violently as it is desecrated by corrupt capitalists. Both Pat and Billy know that their time is passing, as surely as Garrett's posse knows that they are participating in a legend. Using familiar Western players like <a href="/players/P____56691/default.aspx" style='text-decoration:underline'>Slim Pickens</a> and <a href="/players/P____36544/default.aspx" style='text-decoration:underline'>Katy Jurado</a>, Peckinpah underscores the West's existence as a media myth, and he even appears himself as a coffin maker. Just as the bloodletting of Peckinpah's earlier <a href=/films/38324/default.aspx style='text-decoration:underline'>The Wild Bunch</a> (1969) invoked the Vietnam War, the casting of Kristofferson and Dylan alluded to the chaotic late '60s/early '70s present; the counterculture has little place in a corporate future. Also like <a href=/films/38324/default.aspx style='text-decoration:underline'>The Wild Bunch</a>, Pat Garrett was truncated by its studio; the cuts did nothing to help its box office. Key scenes, particularly the framing story of Garrett's fate, have since been restored to the home-video version. In this director's cut, Pat Garrett and Billy the Kid stands as one of Peckinpah's most beautiful and complex films, killing the Western myth even as he salutes it. ~ Lucia Bozzola, All Movie Guide3Slightly Tagged (1-5)15133http://www.spout.com/ProductImages/t69422r7xe1.jpghttp://www.spout.com/films/Pat_Garrett_and_Billy_the_Kid/26198/default.aspxFilm http://www.spout.com/blogs/ibetolis/archive/2008/8/17/34091.aspx Post By: Ibetolis
Post To: Film for the Soul
Post Date: 8/17/2008 6:01:14 PM
Body: This post is part of Graham's 'Film Ignorance' over on his great blog Movies et al. Please check it out for yourself and follow his own brand of film ignorance, which is nearly as bad as mine.No. 15 - Pat Garrett and Billy the Kid (Sam Peckinpah, 1973)"This country's getting old and I aim to get old with it". - Pat GarrettRanked - #525Seen by Peckinpah as the ideal film in which to stamp his authority and vision of the western frontier, Pat Garrett and Billy the Kid has the air of a film that should have been a masterpiece; seeing as Peckinpah had begun his revision of the Western with Ride the High Country and taken it to it's bloody conclusion with The Wild Bunch, the mythology surrounding the friends turned enemies was almost too good to be true. Pat Garrett was going to be his crowning glory, the apex to where he'd been going all his directing life. Yet, from the very beginning the film was riddled with problems with budgetary issues, time restraints and technical faults leading to expensive re-shoots and haemorrhaging money. Finally, studio bosses stepped in and producer James Aubery took control of editing, taking a hefty 18 minutes out of Peckinpah's version.In effect the released theatrical version was rejected and disowned by cast and crew, Peckinpah kept his original version and only showed it to friends and family for the next 10 years, finally getting a release in 1988. In this revised release, the bookend sequence of Pat's death is reinstated; one can only imagine what a mess studio executives made of this film, leaving out these vital scenes takes away any form of pathos and removes a vital narrative element. However despite the reinstated scenes, Pat Garrett is still less than satisfying, never really finding it's place amongst the sprawling array of characters, vignettes of violence and muted, hushed dialogue.Kris Kritofferson (Billy the Kid) and James Coburn (Pat Garrett)The film's opening sequence, the one reinstated in Peckinpah's cut and the version for which I base this review, starts some 27 years after the events, those surrounding the death of Billy the Kid (Kris Kristofferson). Garret (James Colburn) is mowed down by the same men that once hired him to kill his old friend, each shot is delivered in clinical Peckinpah slow-motion whilst the action cuts back and forth to a scene of chickens buried up to their necks being used as target practice. The shooters show themselves to be Billy and his gang, the action flashbacks to 1881 and Pat rides into town, orders up a whiskey and tells the boys that things are changing.The original script by Rudy Wurlitzer called for the friends to only meet once at the end of the film, Peckinpah's inspired change to this was to start with the recriminations; Garrett meeting his maker at the hands of the same people that hired him to kill Billy. Its to Peckinpah's strength as a story-teller that insisted Garrett and Billy meet at the beginning of the film, knowing that the audience needs to see that unique friendship for themselves. Garrett warns Billy that he has 5 days to leave the territory and lying beneath this slightly strained meeting is a nettled and furtive friendship, one that is eating Garrett up inside as he spends the rest of the film trying as he might in avoiding the inevitable finale.Despite this promising beginning Pat Garrett doesn't really leave the starting blocks, choosing to keep us at a distance for the majority of the film by not developing the story, it's as if the film burnt itself out with that staggering, awe inspiring opening gambit. Alongside Kristofferson and Colburn, a whole plethora of genre stalwarts and old Peckinpah regulars fill out some of the film with worthy cameo's, if only for the majority of them to be shot down, including; Jason Robards, Slim Pickens, R.G. Armstrong, Chill Wills, Jack Elam, Richard Jaeckel, and Dub Taylor. There's poignancy in these old-timers deaths (especially Slim Pickens looking across the river, eyes widening as he awaits his death), all the while Coburn marches through the county, armed with a shotgun and dressed in black, an angel of death, lamenting and snarling, bringing down the end of a genre.We're fixed to Garrett throughout, Kristofferson's Billy never seems anything more than a ghostly figure, self-involved and prone to posing, we don't feel anything for him; whereas Colburn's Garrett is a fully rounded figure, dignified yet hollow, compromised and beaten. He trundles on regardless, fully aware that in killing Billy he's signing his own death warrant. He realises that the West is changing and rather than being swept up by it all he becomes part of the establishment never fully immersing himself in the 'New World'; in selling out to the man, he loses his soul. There are echoes of Peckinpah's life being played out here by Garrett, the feeling of compromise (with the studio), the crushing of the individual and rise of the organised, conglomerate new order. Maybe a Peckinpah of old would have been Billy; refusing to sell out, reckless with the world at his feet but now there was only Garrett, taking everything down with him as puts an end to it all.The films stand out scene; it gets me every time.A lot is made of Bob Dylan's score and the use of 'Knockin' on Heaven's Door' aside; used sparingly and beautifully as Sheriff Colin Baker (Slim Pickens) prepares to meet his maker, it doesn't on the whole, work with this film. It jars with the images we see on the screen, as if the entire enterprise was made for an entirely different film; fractious working sessions with Jerry Fielding, an experienced film scorer, probably didn't help, seeing as Fielding held little regard for Dylan's music. Dylan also took a starring role as the figure 'Alias', a role which apparently shortened by the week until he was nothing but a footnote in the entire film, starting off with a strong introduction; where he dispatches of man using a knife to almost a nothing role for the rest of film; reduced to reading a menu out loud.Peckinpah depicts a west falling apart at the seams, a lawless territory slowly becoming domesticated with politicians, money men and big business, which in turn leads to one Peckinpah's key themes; that of the expression of violence of man in these conflicted and compromised new societies. For all the film's problems, Peckinpah still gives us a stunning looking film on the screen, proving once again that his style and staging are second to none. The west has never looked so forlorn, desolate and hell-bound, with nothing but angry displaced men, disposable women and a decaying old guard slowly ebbing away, dotted around the barren wasteland waiting to die.In the final sequence, Garrett tracks Billy down to Fort Sumner, approaching the house in the middle of the night, Garrett takes his chance and shots Billy dead, falling to the floor in another of Peckinpah's patented slow-motion shots. After his death Garrett turns to a mirror and shoots his reflection; shooting the man he has become proves futile and death will eventually catch up with him nearly 30 years later. Once Garrett has killed Billy a little crowd emerges and one man accosts him, calling him a "chicken-shit" and asks rhetorically "when are you going to learn you can't trust anybody, not even yourself Garret?" That man was Peckinpah, quite literally in a cameo as an undertaker, harassing and shouting down his mirrored self; berating himself in the public arena for selling-out to the man. Originally posted on:Film for the Soul
]]>Sun, 17 Aug 2008 22:01:14 GMTIbetolisFilm for the Soul8/17/2008 6:01:14 PMThis post is part of Graham's 'Film Ignorance' over on his great blog Movies et al. Please check it out for yourself and follow his own brand of film ignorance, which is nearly as bad as mine.No. 15 - Pat Garrett and Billy the Kid (Sam Peckinpah, 1973)"This country's getting old and I aim to get old with it". - Pat GarrettRanked - #525Seen by Peckinpah as the ideal film in which to stamp his authority and vision of the western frontier, Pat Garrett and Billy the Kid has the air of a film that should have been a masterpiece; seeing as Peckinpah had begun his revision of the Western with Ride the High Country and taken it to it's bloody conclusion with The Wild Bunch, the mythology surrounding the friends turned enemies was almost too good to be true. Pat Garrett was going to be his crowning glory, the apex to where he'd been going all his directing life. Yet, from the very beginning the film was riddled with problems with budgetary issues, time restraints and technical faults leading to expensive re-shoots and haemorrhaging money. Finally, studio bosses stepped in and producer James Aubery took control of editing, taking a hefty 18 minutes out of Peckinpah's version.In effect the released theatrical version was rejected and disowned by cast and crew, Peckinpah kept his original version and only showed it to friends and family for the next 10 years, finally getting a release in 1988. In this revised release, the bookend sequence of Pat's death is reinstated; one can only imagine what a mess studio executives made of this film, leaving out these vital scenes takes away any form of pathos and removes a vital narrative element. However despite the reinstated scenes, Pat Garrett is still less than satisfying, never really finding it's place amongst the sprawling array of characters, vignettes of violence and muted, hushed dialogue.Kris Kritofferson (Billy the Kid) and James Coburn (Pat Garrett)The film's opening sequence, the one reinstated in Peckinpah's cut and the version for which I base this review, starts some 27 years after the events, those surrounding the death of Billy the Kid (Kris Kristofferson). Garret (James Colburn) is mowed down by the same men that once hired him to kill his old friend, each shot is delivered in clinical Peckinpah slow-motion whilst the action cuts back and forth to a scene of chickens buried up to their necks being used as target practice. The shooters show themselves to be Billy and his gang, the action flashbacks to 1881 and Pat rides into town, orders up a whiskey and tells the boys that things are changing.The original script by Rudy Wurlitzer called for the friends to only meet once at the end of the film, Peckinpah's inspired change to this was to start with the recriminations; Garrett meeting his maker at the hands of the same people that hired him to kill Billy. Its to Peckinpah's strength as a story-teller that insisted Garrett and Billy meet at the beginning of the film, knowing that the audience needs to see that unique friendship for themselves. Garrett warns Billy that he has 5 days to leave the territory and lying beneath this slightly strained meeting is a nettled and furtive friendship, one that is eating Garrett up inside as he spends the rest of the film trying as he might in avoiding the inevitable finale.Despite this promising beginning Pat Garrett doesn't really leave the starting blocks, choosing to keep us at a distance for the majority of the film by not developing the story, it's as if the film burnt itself out with that staggering, awe inspiring opening gambit. Alongside Kristofferson and Colburn, a whole plethora of genre stalwarts and old Peckinpah regulars fill out some of the film with worthy cameo's, if only for the majority of them to be shot down, including; Jason Robards, Slim Pickens, R.G. Armstrong, Chill Wills, Jack Elam, Richard Jaeckel, and Dub Taylor. There's poignancy in these old-timers deaths (especially Slim Pickens looking across the river, eyes widening as he awaits his death), all the while Coburn marches through the county, armed with a shotgun and dressed in black, an angel of death, lamenting and snarling, bringing down the end of a genre.We're fixed to Garrett throughout, Kristofferson's Billy never seems anything more than a ghostly figure, self-involved and prone to posing, we don't feel anything for him; whereas Colburn's Garrett is a fully rounded figure, dignified yet hollow, compromised and beaten. He trundles on regardless, fully aware that in killing Billy he's signing his own death warrant. He realises that the West is changing and rather than being swept up by it all he becomes part of the establishment never fully immersing himself in the 'New World'; in selling out to the man, he loses his soul. There are echoes of Peckinpah's life being played out here by Garrett, the feeling of compromise (with the studio), the crushing of the individual and rise of the organised, conglomerate new order. Maybe a Peckinpah of old would have been Billy; refusing to sell out, reckless with the world at his feet but now there was only Garrett, taking everything down with him as puts an end to it all.The films stand out scene; it gets me every time.A lot is made of Bob Dylan's score and the use of 'Knockin' on Heaven's Door' aside; used sparingly and beautifully as Sheriff Colin Baker (Slim Pickens) prepares to meet his maker, it doesn't on the whole, work with this film. It jars with the images we see on the screen, as if the entire enterprise was made for an entirely different film; fractious working sessions with Jerry Fielding, an experienced film scorer, probably didn't help, seeing as Fielding held little regard for Dylan's music. Dylan also took a starring role as the figure 'Alias', a role which apparently shortened by the week until he was nothing but a footnote in the entire film, starting off with a strong introduction; where he dispatches of man using a knife to almost a nothing role for the rest of film; reduced to reading a menu out loud.Peckinpah depicts a west falling apart at the seams, a lawless territory slowly becoming domesticated with politicians, money men and big business, which in turn leads to one Peckinpah's key themes; that of the expression of violence of man in these conflicted and compromised new societies. For all the film's problems, Peckinpah still gives us a stunning looking film on the screen, proving once again that his style and staging are second to none. The west has never looked so forlorn, desolate and hell-bound, with nothing but angry displaced men, disposable women and a decaying old guard slowly ebbing away, dotted around the barren wasteland waiting to die.In the final sequence, Garrett tracks Billy down to Fort Sumner, approaching the house in the middle of the night, Garrett takes his chance and shots Billy dead, falling to the floor in another of Peckinpah's patented slow-motion shots. After his death Garrett turns to a mirror and shoots his reflection; shooting the man he has become proves futile and death will eventually catch up with him nearly 30 years later. Once Garrett has killed Billy a little crowd emerges and one man accosts him, calling him a "chicken-shit" and asks rhetorically "when are you going to learn you can't trust anybody, not even yourself Garret?" That man was Peckinpah, quite literally in a cameo as an undertaker, harassing and shouting down his mirrored self; berating himself in the public arena for selling-out to the man. Originally posted on:Film for the Soul http://www.spout.com/groups/Filmgaming/Re_A_new_pack_of_RESERVOIR_DOGS_1992/563/33376/1/ShowPost.aspx Post By: SkyPilot
Post To: Filmgaming
Post Date: 8/1/2008 9:26:54 AM
Body: Cammmalot's recast has gathered a cult following! It is pretty rad, so I wanted to make it really visible. RESERVOIR *STRAW* DOGS As much as I love this movie it's fascinating to ponder what would have happened if the script had fallen into Sam Peckinpah's lap circa '69-'74 Pat Garrett and Billy the Kid (1973) Kris has enough of that fatherly/mentor vibe to have pulled this off. I would love to hear his version of the let's go get a taco speech. The Getaway (1972) Junior Bonner (1972) Now this would have been something to see. I think this would have been a cross between Bullit & Junior Bonner. How would he have done the commode story? Pat Garrett and Billy the Kid (1973) This would have been fantastic. "Are you gonna bark all day little doggie...or are you gonna bite." The Wild Bunch (1969) Of all the Peckinpah ensemble this one's the no brainer. Right out of the wild bunch and into the wearhouse. He just grabbed the diamonds and split!? I'm right about that, that's your story? The Wild Bunch (1969) Okay, this one's a different vibe. Holden would still explore all the angles but in a much less manic way. Those discussions would involve a whole new layer of tension. Pat Garrett and Billy the Kid (1973) ...And the vibe change continues....at first this choice seemed a bit odd but I really think Robards would have come at it in a much different , yet powerful manner. I can totally hear his voice and inflection on the "So you guys like to fool around and tell jokes" speech. The Getaway (1972) This is probably my favorite choice. Just think of Slim's supply pack speech in Strangelove and now picture him saying, "Now let me tell you all what Like a Virgins about." Convoy (1978) So Bunker is a fantastic in the know cameo..so I just connected look and demeanor.....and I'd put Seymour in any movie! Major Dundee (1965) Yes, yes, YES! I so want to hear heston say "..and if your the 12th caller you'll win 2 tickets to the monster truck extraveganza being held tonight at the carson fairgrounds featuring Big Daddy Don Bodean's truck "The Bohemiath" The 12th caller wins on the station where the 70's survived KBILLY....It's made of PEOPLE! Straw Dogs (1971) Marathon Man (1976) What can I say.....When in Rome. Actually it would be fascinating to hear Hoffman's voice scream, "He cut off my 'effin ear man!" Cam Other honorable mentions: theunemployedshortstop, who like Cammmalot turned the film into a western as gritty as a spittoon full of chaw. And jdamer83 for another great B-movie noir cast that Tarantino probably wrote in his journal at some time as a wishlist.
]]>Fri, 01 Aug 2008 13:26:54 GMTSkyPilotFilmgaming8/1/2008 9:26:54 AM Cammmalot's recast has gathered a cult following! It is pretty rad, so I wanted to make it really visible. RESERVOIR *STRAW* DOGS As much as I love this movie it's fascinating to ponder what would have happened if the script had fallen into Sam Peckinpah's lap circa '69-'74 Pat Garrett and Billy the Kid (1973) Kris has enough of that fatherly/mentor vibe to have pulled this off. I would love to hear his version of the let's go get a taco speech. The Getaway (1972) Junior Bonner (1972) Now this would have been something to see. I think this would have been a cross between Bullit &amp; Junior Bonner. How would he have done the commode story? Pat Garrett and Billy the Kid (1973) This would have been fantastic. "Are you gonna bark all day little doggie...or are you gonna bite." The Wild Bunch (1969) Of all the Peckinpah ensemble this one's the no brainer. Right out of the wild bunch and into the wearhouse. He just grabbed the diamonds and split!? I'm right about that, that's your story? The Wild Bunch (1969) Okay, this one's a different vibe. Holden would still explore all the angles but in a much less manic way. Those discussions would involve a whole new layer of tension. Pat Garrett and Billy the Kid (1973) ...And the vibe change continues....at first this choice seemed a bit odd but I really think Robards would have come at it in a much different , yet powerful manner. I can totally hear his voice and inflection on the "So you guys like to fool around and tell jokes" speech. The Getaway (1972) This is probably my favorite choice. Just think of Slim's supply pack speech in Strangelove and now picture him saying, "Now let me tell you all what Like a Virgins about." Convoy (1978) So Bunker is a fantastic in the know cameo..so I just connected look and demeanor.....and I'd put Seymour in any movie! Major Dundee (1965) Yes, yes, YES! I so want to hear heston say "..and if your the 12th caller you'll win 2 tickets to the monster truck extraveganza being held tonight at the carson fairgrounds featuring Big Daddy Don Bodean's truck "The Bohemiath" The 12th caller wins on the station where the 70's survived KBILLY....It's made of PEOPLE! Straw Dogs (1971) Marathon Man (1976) What can I say.....When in Rome. Actually it would be fascinating to hear Hoffman's voice scream, "He cut off my 'effin ear man!" Cam Other honorable mentions: theunemployedshortstop, who like Cammmalot turned the film into a western as gritty as a spittoon full of chaw. And jdamer83 for another great B-movie noir cast that Tarantino probably wrote in his journal at some time as a wishlist. http://www.spout.com/groups/Filmgaming/RESERVOIR_STRAW_DOGS/563/32756/1/ShowPost.aspx Post By: Cammmalot
Post To: Filmgaming
Post Date: 7/19/2008 7:22:06 AM
Body: As much as I love this movie it's fascinating to ponder what would have happened if the script had fallen into Sam Peckinpah's lap circa '69-'74 Pat Garrett and Billy the Kid (1973) Kris has enough of that fatherly/mentor vibe to have pulled this off. I would love to hear his version of the let's go get a taco speech. The Getaway (1972) Junior Bonner (1972) Now this would have been something to see. I think this would have been a cross between Bullit & Junior Bonner. How would he have done the commode story? Pat Garrett and Billy the Kid (1973) This would have been fantastic. "Are you gonna bark all day little doggie...or are you gonna bite." The Wild Bunch (1969) Of all the Peckinpah ensemble this one's the no brainer. Right out of the wild bunch and into the wearhouse. He just grabbed the diamonds and split!? I'm right about that, that's your story? The Wild Bunch (1969) Okay, this one's a different vibe. Holden would still explore all the angles but in a much less manic way. Those discussions would involve a whole new layer of tension. Pat Garrett and Billy the Kid (1973) ...And the vibe change continues....at first this choice seemed a bit odd but I really think Robards would have come at it in a much different , yet powerful manner. I can totally hear his voice and inflection on the "So you guys like to fool around and tell jokes" speech. The Getaway (1972) This is probably my favorite choice. Just think of Slim's supply pack speech in Strangelove and now picture him saying, "Now let me tell you all what Like a Virgins about." Convoy (1978) So Bunker is a fantastic in the know cameo..so I just connected look and demeanor.....and I'd put Seymour in any movie! Major Dundee (1965) Yes, yes, YES! I so want to hear heston say "..and if your the 12th caller you'll win 2 tickets to the monster truck extraveganza being held tonight at the carson fairgrounds featuring Big Daddy Don Bodean's truck "The Bohemiath" The 12th caller wins on the station where the 70's survived KBILLY....It's made of PEOPLE! Straw Dogs (1971) Marathon Man (1976) What can I say.....When in Rome. Actually it would be fascinating to hear Hoffman's voice scream, "He cut off my 'effin ear man!" Cam
]]>Sat, 19 Jul 2008 11:22:06 GMTCammmalotFilmgaming7/19/2008 7:22:06 AMAs much as I love this movie it's fascinating to ponder what would have happened if the script had fallen into Sam Peckinpah's lap circa '69-'74 Pat Garrett and Billy the Kid (1973) Kris has enough of that fatherly/mentor vibe to have pulled this off. I would love to hear his version of the let's go get a taco speech. The Getaway (1972) Junior Bonner (1972) Now this would have been something to see. I think this would have been a cross between Bullit &amp; Junior Bonner. How would he have done the commode story? Pat Garrett and Billy the Kid (1973) This would have been fantastic. "Are you gonna bark all day little doggie...or are you gonna bite." The Wild Bunch (1969) Of all the Peckinpah ensemble this one's the no brainer. Right out of the wild bunch and into the wearhouse. He just grabbed the diamonds and split!? I'm right about that, that's your story? The Wild Bunch (1969) Okay, this one's a different vibe. Holden would still explore all the angles but in a much less manic way. Those discussions would involve a whole new layer of tension. Pat Garrett and Billy the Kid (1973) ...And the vibe change continues....at first this choice seemed a bit odd but I really think Robards would have come at it in a much different , yet powerful manner. I can totally hear his voice and inflection on the "So you guys like to fool around and tell jokes" speech. The Getaway (1972) This is probably my favorite choice. Just think of Slim's supply pack speech in Strangelove and now picture him saying, "Now let me tell you all what Like a Virgins about." Convoy (1978) So Bunker is a fantastic in the know cameo..so I just connected look and demeanor.....and I'd put Seymour in any movie! Major Dundee (1965) Yes, yes, YES! I so want to hear heston say "..and if your the 12th caller you'll win 2 tickets to the monster truck extraveganza being held tonight at the carson fairgrounds featuring Big Daddy Don Bodean's truck "The Bohemiath" The 12th caller wins on the station where the 70's survived KBILLY....It's made of PEOPLE! Straw Dogs (1971) Marathon Man (1976) What can I say.....When in Rome. Actually it would be fascinating to hear Hoffman's voice scream, "He cut off my 'effin ear man!" Cam http://www.spout.com/groups/Top_5/Re_Top_Westerns/190/4099/1/ShowPost.aspx Post By: paul
Post To: Top 5
Post Date: 12/7/2006 11:00:42 PM
Body: I recently watched Heaven's Gate and it's in my top 5 westerns now.I'll also second Unforgiven and The Wild Bunch.Maybe this isn't the old west, but there's cowboys and bullriding. I have a real soft spot for Urban Cowboy.I'll save the fifth one until after I've seen Once Upon a Time in the West and Pat Garrett and Billy the Kid.
]]>Fri, 08 Dec 2006 04:00:42 GMTpaulTop 512/7/2006 11:00:42 PMI recently watched Heaven's Gate and it's in my top 5 westerns now.I'll also second Unforgiven and The Wild Bunch.Maybe this isn't the old west, but there's cowboys and bullriding. I have a real soft spot for Urban Cowboy.I'll save the fifth one until after I've seen Once Upon a Time in the West and Pat Garrett and Billy the Kid. http://www.spout.com/members/0/tags/friendship/MemberTagFilms.aspxfriendship
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]]>Tue, 28 Apr 2009 13:07:10 GMT9744Tag http://www.spout.com/members/0/tags/directors-cut/MemberTagFilms.aspxdirectors-cut
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