Will always appreciate Westerns, regardless of whether it's my favourite genre or not (it isn't), and there are many fine films that fit under it. While Sam Peckinpah is not one of my favourite directors, he showed immense talent as one and he was responsible for 'The Wild Bunch', a masterpiece and one of the best films in the genre (also love 'Ride the High Country'). Have also liked James Coburn as an actor and appreciate Bob Dylan and his music, namely for his powerful lyric writing, while not loving him.
'Pat Garrett and Billy the Kid' had a very troubled production behind the scenes with a lot of studio tinkering, using much re-editing and releasing a heavily truncated version, as well as increasing production costs (even going over-budget), multiple technical problems, expensive re-shoots, pressure in getting it finished and released on time and Peckinpah's personal troubles getting in the way. Unfortunately the troubled production does show on screen, but 'Pat Garrett and Billy the Kid' for all its problems has a lot to recommend.
Certainly a lot could have been done better and there was a better, and potentially brilliant, film in there somewhere. Not all of the casting comes off well. Kris Kristofferson has been criticised for being old for Billy and understandably so, my problem actually though with him was that his performance lacked a sense of danger and intensity, too laconic. While the supporting cast mostly do very well actually, too many of them are underused in what are pretty much cameo appearances.
The worst casting choice is Dylan, while his music is great and there is very effective use of it his acting performance is truly bizarre and out of place. One of the worst performances from any musician taking on an acting role on film, not quite Madonna in most of her acting work or Mariah Carey in 'Glitter' bad but not far off. Although it was clear that the pace would be deliberate, with the film being essentially an elegy, the deliberation was taken to extremes at times. Meaning some parts dragging and narratively it both jumps around and meanders. Some of the dialogue is banal.
Having said all of this, 'Pat Garrett and Billy the Kid' has much to admire. It looks wonderful, not just the handsome settings and costumes but also the photography. Which is not just sweepingly beautiful but also interesting, not as innovative visually as some of his other work such as 'The Wild Bunch' and 'Straw Dogs' but Peckinpah's innovative style in the action and violence is evident. Peckinpah may have had huge difficulties getting through the shoot, but although his other films see much more focused and consistent direction from him his uncompromising approach to violence and his typically elegiac storytelling remain. Although Dylan's acting is poor, his music isn't. Personally it fitted the mood really well and how it was used oppressively was quite haunting.
"Knockin on Heaven's Door" is one of the most powerful uses of music for anything film, television etc. related encountered in a while. Furthermore, other parts of the dialogue probe thought and while the storytelling is flawed there are a fair share of great moments. Slim Pickens' scene is truly moving, and the film shines in how it doesn't shy away when it comes to the action, which as was usual for Peckinpah very explicit and shockingly brutal without being too gratuitous. As well as how affectionately nostalgic and movingly elegiac it is, the conflict well realised. Kristofferson and Dylan aside, the performances come over well.
Despite their appearances being pretty much come and go, the supporting cast do very well. Slim Pickens was quite poignant. The best performance comes from a pitch perfect Coburn in one of his best performances, the only properly outstanding performance as the only character that felt properly like a real character. One that is steely, movingly nuanced and remarkably complex.
Concluding, wasn't jumping out of my chair and can definitely understand why it was, and still is in a way, controversial, but not a half bad effort at all. 6/10 for namely the visuals, atmosphere, one particularly great use of music and Coburn
'Pat Garrett and Billy the Kid' had a very troubled production behind the scenes with a lot of studio tinkering, using much re-editing and releasing a heavily truncated version, as well as increasing production costs (even going over-budget), multiple technical problems, expensive re-shoots, pressure in getting it finished and released on time and Peckinpah's personal troubles getting in the way. Unfortunately the troubled production does show on screen, but 'Pat Garrett and Billy the Kid' for all its problems has a lot to recommend.
Certainly a lot could have been done better and there was a better, and potentially brilliant, film in there somewhere. Not all of the casting comes off well. Kris Kristofferson has been criticised for being old for Billy and understandably so, my problem actually though with him was that his performance lacked a sense of danger and intensity, too laconic. While the supporting cast mostly do very well actually, too many of them are underused in what are pretty much cameo appearances.
The worst casting choice is Dylan, while his music is great and there is very effective use of it his acting performance is truly bizarre and out of place. One of the worst performances from any musician taking on an acting role on film, not quite Madonna in most of her acting work or Mariah Carey in 'Glitter' bad but not far off. Although it was clear that the pace would be deliberate, with the film being essentially an elegy, the deliberation was taken to extremes at times. Meaning some parts dragging and narratively it both jumps around and meanders. Some of the dialogue is banal.
Having said all of this, 'Pat Garrett and Billy the Kid' has much to admire. It looks wonderful, not just the handsome settings and costumes but also the photography. Which is not just sweepingly beautiful but also interesting, not as innovative visually as some of his other work such as 'The Wild Bunch' and 'Straw Dogs' but Peckinpah's innovative style in the action and violence is evident. Peckinpah may have had huge difficulties getting through the shoot, but although his other films see much more focused and consistent direction from him his uncompromising approach to violence and his typically elegiac storytelling remain. Although Dylan's acting is poor, his music isn't. Personally it fitted the mood really well and how it was used oppressively was quite haunting.
"Knockin on Heaven's Door" is one of the most powerful uses of music for anything film, television etc. related encountered in a while. Furthermore, other parts of the dialogue probe thought and while the storytelling is flawed there are a fair share of great moments. Slim Pickens' scene is truly moving, and the film shines in how it doesn't shy away when it comes to the action, which as was usual for Peckinpah very explicit and shockingly brutal without being too gratuitous. As well as how affectionately nostalgic and movingly elegiac it is, the conflict well realised. Kristofferson and Dylan aside, the performances come over well.
Despite their appearances being pretty much come and go, the supporting cast do very well. Slim Pickens was quite poignant. The best performance comes from a pitch perfect Coburn in one of his best performances, the only properly outstanding performance as the only character that felt properly like a real character. One that is steely, movingly nuanced and remarkably complex.
Concluding, wasn't jumping out of my chair and can definitely understand why it was, and still is in a way, controversial, but not a half bad effort at all. 6/10 for namely the visuals, atmosphere, one particularly great use of music and Coburn