Sam Peckinpah

The Essential Steve McQueen Collection (Bullitt Two-Disc Special Edition / The Getaway Deluxe Edition / The Cincinnati Kid / Papillon / Tom Horn / Never So Few)

Studio: Warner Home Video Release Date: 11/13/2007

The Wild Bunch - The Original Director's Cut

Here's how director Sam Peckinpah described his motivation behind The Wild Bunch at the time of the film's 1969 release: "I was trying to tell a simple story about bad men in changing times. The Wild Bunch is simply what happens when killers go to Mexico. The strange thing is you feel a great sense of loss when these killers reach the end of the line." All of these statements are true, but they don't begin to cover the impact that Peckinpah's film had on the evolution of American movies. Now the film is most widely recognized as a milestone event in the escalation of screen violence, but that's a label of limited perspective. Of course, Peckinpah's bloody climactic gunfight became a masterfully directed, photographed, and edited ballet of graphic violence that transcended the conventional Western and moved into a slow-motion realm of pure cinematic intensity. But the film--surely one of the greatest Westerns ever made--is also a richly thematic tale of, as Peckinpah said, "bad men in changing times." The year is 1913 and the fading band of thieves known as the Wild Bunch (led by William Holden as Pike) decide to pull one last job before retirement. But an ambush foils their plans, and Peckinpah's film becomes an epic yet intimate tale of betrayed loyalties, tenacious rivalry, and the bunch's dogged determination to maintain their fading code of honor among thieves. The 144-minute director's cut enhances the theme of male bonding that recurs in many of Peckinpah's films, restoring deleted scenes to deepen the viewer's understanding of the friendship turned rivalry between Pike and his former friend Deke Thornton (Robert Ryan), who now leads a posse in pursuit of the bunch, a dimension that adds resonance to an already classic American film. The Wild Bunch is a masterpiece that should not be defined strictly in terms of its violence, but as a story of mythic proportion, brimming with rich characters and dialogue and the bittersweet irony of outlaw traditions on the wane. --Jeff Shannon

One of the best action movies ever made, in a cleaned-up print restoring crucial parts of the story. No cavalry ever rode in with more epochal impact than the Wild Bunch in the legendary opening scene. Their steel-eyed leader, Pike (William Holden), and his robbers in stolen army uniforms help an old lady across the street, and then spark a massacre led by Pike's old crony Thornton (Robert Ryan), sprung from jail to hunt down his old gang. In just a few minutes, Sam Peckinpah sets the scene--a dusty Texas town in 1913--sketches a dozen vividly individualized characters, and choreographs one of the most realistic, influential, brilliantly photographed shootouts under the pitiless sun. The cast is superb (even Ernest Borgnine!), the dialog crackling, the bitterly ambiguous moral of the story hard-earned. It's the deeper, dark flip side to 1969's Butch Cassidy and the Sundance Kid. Consider buying the letterbox Wild Bunch, the review collection Doing It Right, and the Peckinpah bio "If They Move... Kill 'Em!" --Tim Appelo

Director sam peckinpahs masterpiece is a world class western notable for its daring cinematography and landmark violence. Studio: Warner Home Video Release Date: 06/07/2005 Starring: William Holden Run time: 145 minutes Rating: R Director: Sam Peckinpah

Pat Garrett and Billy the Kid (Two-Disc Special Edition)

Pat Garrett & Billy the Kid may be the most beautiful and ambitious film that Sam Peckinpah ever made. The time is 1881. Powerful interests want New Mexico tamed for their brand of progress, and Sheriff Pat Garrett (James Coburn) is commissioned to rid the territory of his old gunfighting comrades. He serves fair notice to William Bonney--Billy the Kid (Kris Kristofferson)--and his Fort Sumter cronies, but it's not in their nature, or his, to go quietly. Peckinpah's theme, more than ever, is the closing of the frontier and the nature of the loss that that entails. But this time his vision takes him beyond genre convention, beyond history and legend, to the bleeding heart of myth--and surely of himself.

This is one strange and original movie. In 1973 most American reviewers responded by panning it and deriding its director, whom they saw as having betrayed the promise of Ride the High Country, been swept up in his own cult of violence, and become incoherent as a storyteller. Coherence wasn't helped by MGM's cutting at least a quarter-of-an-hour out of the finished film and removing a bitter, retrospective prelude. Subsequent releases have restored a lot of material, and now there's more widespread appreciation of the depth and power of Peckinpah's achievement.

The cast, teeming with fine character actors, is extraordinary, making the gallery of frontier denizens vivid and resonant. Coburn's Garrett, a man who comes to loathe himself for his mission yet cannot abandon it, is the high-water mark of the actor's career. L.Q. Jones, Luke Askew, Harry Dean Stanton, Jack Elam, and Richard Bright create indelible moments, and Slim Pickens becomes the center of an unforgettably moving scene. The presence of Kristofferson (just starting out as an actor) and Bob Dylan (whose enigmatic role is nearly wordless) nudges us toward recognizing Old West outlawry as an early form of rock stardom--flesh-and-blood gods for a primitive society to feed on. --Richard T. Jameson

The Getaway (Deluxe Edition)

Studio: Warner Home Video Release Date: 09/26/2006 Run time: 123 minutes Rating: Pg

It's better than the 1994 remake starring Kim Basinger and husband Alec Baldwin, but this 1972 thriller relies too heavily on the low-key star power of Steve McQueen and Ali MacGraw, and the stylish violence of director Sam Peckinpah, reduced here to a mechanical echo of his former glory. McQueen plays a bank robber whose wife (MacGraw) makes a deal with a Texas politician to have her husband released from prison in return for a percentage from their next big heist. But when the plan goes sour, the couple must flee to Mexico as fast as they can, with a variety of gun-wielding thugs on their trail. MacGraw was duly skewered at the time for her dubious acting ability, but the film still has a raw, unglamorous quality that lends a timeless spin to the familiar crooks-on-the-lam scenario. As always, Peckinpah rises to the occasion with some audacious scenes of action and suspense, including a memorable chase on a train that still grabs the viewer's attention. Not a great film, but a must for McQueen and Peckinpah fans. --Jeff Shannon

It's better than the 1994 remake starring Kim Basinger and husband Alec Baldwin, but this 1972 thriller relies too heavily on the low-key star power of Steve McQueen and Ali MacGraw, and the stylish violence of director Sam Peckinpah, reduced here to a mechanical echo of his former glory. McQueen plays a bank robber whose wife (MacGraw) makes a deal with a Texas politician to have her husband released from prison in return for a percentage from their next big heist. But when the plan goes sour, the couple must flee to Mexico as fast as they can, with a variety of gun-wielding thugs on their trail. MacGraw was duly skewered at the time for her dubious acting ability, but the film still has a raw, unglamorous quality that lends a timeless spin to the familiar crooks-on-the-lam scenario. As always, Peckinpah rises to the occasion with some audacious scenes of action and suspense, including a memorable chase on a train that still grabs the viewer's attention. Not a great film, but a must for McQueen and Peckinpah fans. --Jeff Shannon

The Ballad of Cable Hogue

What does it tell us that Sam Peckinpah's most joyous and life-affirming movie is also his most underappreciated? The Ballad of Cable Hogue was made in that singular moment when, having just completed The Wild Bunch, Peckinpah knew he was back in the game as a feature-film director; and before anyone (including Peckinpah himself?) had an inkling of how completely he was about to redefine the Western genre, contemporary American filmmaking, and his own personal legend.

Cable Hogue is a splendiferous entertainment: a grufty Western tall tale, a lusty comedy, and also (in critic Kathleen Murphy's phrase) "a musical about the economic and emotional complexities of capitalism." Its title character--Jason Robards in a great, exuberant gift of a performance--is an ornery varmint left by two scurrilous partners (L.Q. Jones and Strother Martin) to die in the desert. Through pure cussedness and what may be dumb luck, may be divine intervention, he "finds water where it wasn't" and survives. Nothing to do now but settle back, let his waterhole--the only one on the stage line between Deaddog and Gila--make him a rich man, and await the day those two old partners drop by his waystation.

Besides such Peckinpah regulars as Slim Pickens, R.G. Armstrong, and Gene Evans, the movie features Stella Stevens in her career-best role as Hildy, Hogue's best reason for getting into town now and again, and David Warner, an itinerant preacher and full-time lech who becomes his soulmate. Lucien Ballard photographed, and there's a charming song score (by Richard Gillis) whose neglect is as mystifying as that of the film. Above all, there is Sam Peckinpah exulting in the lyrical, heart-filling possibilities of making a motion picture, trying just about anything, and finding it beautiful. This film was his personal favorite. --Richard T. Jameson

Studio: Warner Home Video Release Date: 01/10/2006 Run time: 121 minutes Rating: R

Straw Dogs

One of Sam Peckinpah's most controversial efforts, this film came out at a critical moment in the early 1970s, released in the same month as both Dirty Harry and A Clockwork Orange, causing a furor over film violence. Based on a little-known British novel, the film casts Dustin Hoffman as a bookish American mathematician on sabbatical in rural England, in the town where his young bride (Susan George) grew up. He finds himself forced to defend his home against an assault by local toughs, and discovers a frighteningly feral and vicious side to himself. Though Straw Dogs has a reputation for graphic violence, it actually looks tame by contemporary standards. Instead, the violence is psychological, and the suspense and shocks are induced by the editing--you're more terrified by what you think you see than by what you are actually shown. --Marshall Fine

Brace yourself for the extended version of this daring and provocative drama from the director of The Wild Bunch. Starring Dustin Hoffman in a 'superbly realized (Time) performance, this brilliant (Cue), disturbing film charts one man's brutally violent journey from cowardice to courage and delivers one helluva jolt (Playboy)!

The Osterman Weekend

Sam Peckinpah's final film has a lot to recommend it, including a complicated story derived from a Robert Ludlum novel but laced with Peckinpah's hard questions about loyalty and the balance between civilization and basic instincts. Rutger Hauer stars as John Tanner, a television host with strong criticisms of America's cold-war conduct. Looking forward to a weekend of socializing with old friends (played by Craig T. Nelson, Dennis Hopper, and Chris Sarandon), Tanner is approached by a CIA agent (John Hurt) who tells him his friends may be Soviet agents. Tanner agrees to let the spy agency set up surveillance in his house; it turns out there is more to the agent's claims than meets the eye and Tanner's weekend eventually erupts into violence. Osterman is not Peckinpah at his best (though, typically, the director was under siege from production politics), but the maestro of montage certainly worked in some extraordinary action sequences. --Tom Keogh

Major Dundee (The Extended Version)

This restoration of Sam Peckinpah's 1965 western Major Dundee is nothing short of magnificent, a noble attempt at restoring a famously wrecked masterpiece. When Peckinpah went over budget and over schedule during the Mexico shoot, unshot scenes were canceled and the footage rudely cut by the studio. The director disowned the results. In 2005, surviving footage was patched back in, and a new musical soundtrack commissioned to replace the score Peckinpah hated. This raises some legitimate questions about interpreting a director's intentions, and about messing with film history, but Major Dundee--The Extended Version is such a rousing, mysterious experience, one feels grateful.

Major Dundee (Charlton Heston) is a vainglorious officer busted to the decidedly inglorious job of overseeing prisoners in a fort in New Mexico. An abduction gives him the excuse to mount an expedition into Mexico, chasing the perpetrators and perhaps a shot at greatness. His ragtag posse includes Confederate POWs, notably one Captain Ben Tyreen (Richard Harris), whose intense former friendship with Dundee is tainted with a sense of betrayal on both sides. (Heston and Harris, two actors not known for subtlety, are splendid.) Part Ahab, part Alexander the Great, Dundee leads the expedition away from its purpose and into a near-mythic kind of wandering.

Peckinpah gets everything right--the landscapes, the sneaky humor, the code of men. He also takes time to distinguish the supporting characters, such as Jim Hutton's awkward young officer and Senta Berger's stranded widow. The Peckinpah stock company of amazing character actors is in place, too, including James Coburn, Warren Oates, Ben Johnson, L.Q. Jones, and Slim Pickens. It will never be exactly what Peckinpah envisioned, but now Major Dundee rides suspiciously close to greatness. --Robert Horton

A union army officer volunteers to chase a savage indian leader through mexico. Studio: Sony Pictures Home Ent Release Date: 06/27/2006 Starring: Charlton Heston Jim Hutton Run time: 136 minutes Rating: Pg13

Cross of Iron (Widescreen Special Edition)

Sam Peckinpah weighs in on World War II--and from the German point of view. The result is as bleak, if not quite as bloody, as one expects, in part because the 1977 film was cut to ribbons by nervous studio executives. The assorted excerpts that remain don't constitute an exhilarating or even an especially thrilling battle epic. The war is grinding to a close, and veterans like James Coburn's Steiner are grimly aware that it's a lost cause. The battlefield is a death trap of sucking mud and barbed wire, and the German generals (viz., the martinet played by James Mason) seem to pose a bigger threat to the life and limbs of Steiner's men than the inexorable enemy. Not even Peckinpah's famous sensuous exuberance when shooting violence is much in evidence; the picture is a depressive, claustrophobically overcast experience. The bloody high (or low) point isn't a shooting; it's a wince-inducing de-penis-tration during oral sex. For a fun time with the men in (Nazi) uniform, try Das Boot instead. --David Chute

Widescreen Special Edition DVD Features include:
Audio Commentary by film scholar Stephen Prince, author of Savage Cinema: Sam Peckinpah and the Rise of Ultraviolent Movies
Original Theatrical Trailer
Photo Gallery of German Lobby Cards
Language Options: English, French
New Widescreen 16:9 Anamorphic Transfer

Convoy

Citizen Band radio takes to the freeways for fast-lane thrills and fly-over spills. Trucker "Rubber Duck" (Kris Kristofferson) signals the big `10-4' when he and his unsuspecting ridealong (Ali MacGraw) are chased through three states by a corrupt traffic cop named "Dirty Lyle" (Ernest Borgnine). The green light is sent out over the CB airwaves for a convoy of truckers to help keep the police off his trail. Director Sam Peckinpah steps on the gas for this all-action adventure jam-packed with sensational stunts.