BLOODY SAM: THE FILMS OF SAM PECKINPAH

      Pauline Kael wrote a glowing review of "Pat Garrett and Billy the Kid" after seeing the only screening of the director's cut. When the film was finally released, most critics universally panned it. They did not see the same film that Ms. Kael did. Sam had it in his contract that he would have a screening of his cut of the film. MGM executives held the screening under tight security and kept the critics away. Sam snuck Ms. Kael into the projection booth where they watched it together. The unnamed producer (I refuse to soil this article with his name) who was behind the rape of this film fumed as the movie played across the screen. All of it was up there, all of the scenes which he a forbade Sam to film in a public humiliation of the director on location in Mexico. Ms. Kael was right about the movie, it was very good. It wasn't "The Wild Bunch" but it was a lyrical and poetic story. The evil MGM executive then took the film and recut it, releasing to the public the mediocre theatrical version that was a box office failure.

      Sam was forced to shoot the film in Mexico using non-union labor. Almost two weeks of filming was lost because of a defect in the camera lenses. The defect wasn't discovered until the film was shipped to LA for processing the rushes. Sam was furious and told the producer that the problem could have been avoided if the producer had listened to him and filmed in America with union labor. The next day the producer flew in by helicopter and in front of cast and crew lambasted Sam. The producer took out the script and tore out numerous pages. He said not to film those scenes as they added nothing to the movie. What he left was a so-so narrative loosely tying together Sam's trademark violent action scenes. The producer had removed the character from the script. Just as quick, he hopped back in his helicopter and flew away. The cast and crew gathered around Sam and told him that they would work for free if necessary, but the film was going to be done the way Sam wanted it done. Sam filmed his movie and MGM performed a partial birth abortion on the end product. Sam went to his grave without his film being restored. Kudos to Ted Turner who finally had it put back together and released on video. It is very superior to the theatrical version. Kudos to the cast and crew who stood by Sam and worked for free for the sake of art and their gruff, gonzo director. Enough background, on to the movie.

      Pat Garrett and Billy the Kid were best friends. Pat (James Coburn) was elected sheriff of Lincoln County, New Mexico. As a favor to his old friend Billy (Kris Kristofferson), Pat gave Billy one weeks notice that he needed to clear out of the New Mexico territory. Billy turns down this advice. One week later, Pat comes a knocking. The rest of the movie involves Billy's capture, escape and eventual death at the hands of his old friend. There are many fine vignettes and set pieces as the movie shifts from one location to another. The film assumes that one is familiar with the legendary outlaw and the nomadic ways of the old West badmen. The film is populated by so many memorable characters, that one wishes the movie was longer so as to get to know these people better.

      R.G. Armstrong is terrifying as Bob Olinger, the hard drinking Bible thumping deputy who tries to force Billy to find Jesus before his hanging. Bob keeps "ten thin dimes" in each of the barrels of his shotgun. He begs Billy to try and escape so he can "spread [him] out like a crazy woman's quilt." I don't think Bob heard the sermon where they said "God is love." Jack Elam also appears as Alamosa Bill, an old outlaw turned lawman who is forced into a unwanted confrontation with Billy. He and Billy had been friends, but Bill’s oath to do his duty prevents him from turning a blind eye and letting Billy ride away. He is a man of honor. He is also very stupid. There are fine cameos by Barry Sullivan as Chism and Elisha Cook Jr. One of the most disturbing images in the movie is the grotesquely over weight, topless Chill Wills as Lemuel, a profanity spouting bartender. He is a Jabba the Hutt type of guy without Jabba's charm. You can imagine how foul the old West must have smelled. Matt Clark, Charlie Martin Smith, a nude Rita Coolidge, Jason Robards, Richard Jaeckel, Richard Bright (Neary from The Godfather films), Luke Askew, John Beck and Harry Dean Stanton all add nice touches to this film.

      My favorite scene involves Pat calling on sheriff Colin Baker (Slim Pickens) to help him flush out Harris (L.Q. Jones), a crony of Billy's. Colin is reluctant to go and his wife (Katy Jurardo) is down right insistent that he not go. Colin makes one excuse after another. He finally says he doesn't do anything unless there’s a piece of gold in it. Pat flips a $50.00 gold piece to him and calls his bluff. Mrs. Baker loads her double barreled shotgun, puts on a bandoleer and rides with her husband. The shoot-out is futile as Harris doesn't give Pat any information about Billy before he dies. The scene is most memorable for the performance of Slim Pickens and Katy Jurardo. As Pat tries to convince Colin to ride with him, Colin is working on a boat he is building. The boat symbolizes the hope for a future of relaxation on the ocean with his tough old loving wife. As the smoke from the shoot-out clears Pat sees Colin staggering toward a small stream clutching his gut. Mrs. Baker runs to her husband. She stands a few feet away as he sits on the edge of the stream. She sits near him. They smile at each other and tears stream down Mrs. Baker's face. They watch the sun set knowing that this is the only time they will look across the water together. Colin's death hits hard even though he is only in the movie for 5 minutes. It is a testament to the fine acting of Mr. Pickins and Ms. Jurardo. They have such chemistry that the audience can picture them 20 years earlier when they were young and in love. Their long life together is painted in their eyes during this brief poetic scene. Bob Dylan's ode "Knockin on Heaven's Door" plays on the soundtrack. Dylan's music adds immensely to this scene and to the rest of the movie. Unfortunately his acting is a real sore spot. Dylan plays "Alias." Alias is a small town newspaper man who leaves everything to follow Billy. The part is poorly written and seems to serve no purpose other than to draw Dylan fans to the theater.

      The two leads are two sides of the same coin. Leonard Maltin complained that there was not enough difference between the two lead characters. So what. They are both outlaws with a moral compass that is always pointing to their own wants and desires. The only difference is that Pat has sold out for security. He is a little smarter than his young protégé. They are both selfish, amoral animals. Why should there be much difference between them. I enjoyed both performances. Kristofferson was born to play the part. He has the boyish charm which served Billy so well, and the dead eyes of a killer. While "Pat Garrett and Billy the Kid" is a flawed film, it still ranks toward the top. If you do rent this movie make sure it is the 122 minute director's cut. Avoid the 103 minute theatrical version.

      Following the critical and commercial failure of "Pat Garrett and Billy the Kid," Sam returned to Mexico to vent his anger at MGM. He made a strange little film and went crazy in the process. It has been said by people who knew Sam that if you wanted to know who Sam was just watch Warren Oates performance in Bring Me the Head of Alfredo Garcia (1974).

» CHAPTER 5: BRING ME THE HEAD OF ALFREDO GARCIA (1974)

Rusty White