|
Sam Peckinpah was a man's man. What is "a man's man" you ask through your PC polluted, Phil Donohue/Alan Alda brainwashed minds? A man's man is a man who recognizes that men and women are different creatures and revels in those differences. He doesn't look down upon "the weaker sex" because he knows in his heart of hearts that she is probably a lot stronger and more emotionally evolved than he is. But he also realizes that a woman's woman loves and will stand by this type of male 1,000 times longer than the hundreds of PC, super sensitive guys that are living proof that the end of the world is not far away. "Bloody" Sam, along with Ernest Hemingway and Errol Flynn were three men who epitomized this truth. An examination of several of Mr. Peckinpah's films will reveal this truth, and hopefully put a few readers back on the path to recapturing their masculinity. Real women will love you for it.
There are a couple of Sam's (I call him Sam because a man's man, unlike Bobby Knight, is not bothered by familiarity) movies that I haven't seen in a long while but will recommend without going into an in-depth study. "Ride the High Country" (1962) starred Randolph Scott, Joel McCrea in their final performances as aging gunfighters. Also appearing in a small supporting role, Warren Oates. Sam explores the themes of alienation and time running out on older values. (This is not unlike what is going on today with the "political correctness" movement.) A beautifully shot western, "Ride the High Country" did not feature any of Sam's trademark "blood ballets," but it did feature what set his more violent films apart from a host of third rate imitators: it dealt in depth with the soul of its characters.
Sam's next movie was "Major Dundee" (1965) starring Charlton Heston. This film is for fans only as it was taken away from its director and butchered by the studios. Sam’s drug and alcohol use on location didn’t help matters. In fact things got so bad that Charlton Heston actually threatened to kill him with a sword! The film deals with a group of Union and Confederate soldiers thrown together south of the border and forced to work together against those darn foreigner. "Major Dundee" is a film in need of restoration. About 45 or so minutes were cut from the film, and it's story told in a linear fashion, instead of using the frequent flashbacks that Sam intended. Imagine if "Pulp Fiction" were taken away from Tarentino (another Man's man) and reedited in a linear fashion. God forbid. If only Ted Turner would do with "Major Dundee" what he did with "Pat Garrett and Billy the Kid;" restore the director's cut and release it on video.
The one film of Sam's that I have only seen in bits and pieces is "The Ballad of Cable Hogue." (1970) Starring Jason Robards, David Warner and Stella Stevens, "Hogue" tells the story of an all around nice guy who interacts with numerous characters as he builds a good life for himself in a turn of the century western setting. I need to rent it and see it all the way through. According to Sam, Cable Hogue (Jason Robards) was the character most close to himself.
Characters were important to Sam. Several of his films were butchered by shortsighted producers who didn't get that point. Moneymen who look at their audience with disdain, who cut out the meat of the story and leave the violence. Sam knew that it was character that drove the story. So did his casts. Sam had some of the most interesting actors and actresses working with him. Like Altman, he had a regular stable of actors dying to work with him. Jason Robards, Earnest Borgnine, Ali MacGraw, David Warner, Slim Pickens, L.Q.Jones, R.G. Armstrong, Richard Bright, Strother Martin, Dub Taylor, Warren Oates, Emilio Fernandez, Ben Johnson, Steve McQueen, James Coburn, Gig Young and Kris Kristofferson all made a number of appearances in his films.
Enough of the cursory glances at Sam's films. It's time to examine in depth (I hope)
"The Wild Bunch," (1969) "Straw Dogs," (1971) "The Getaway," (1972) "Pat Garret and Billy the Kid," (1973)
"Bring Me the Head of Alfredo Garcia," (1974) "The Killer Elite," (1975)
"Cross of Iron," (1977) and his dismal swansong "The Osterman Weekend" (1983).
These films paint a portrait of the director as a warrior poet. Sam's hard living and
hard drinking and drug abuse took their toll and sadly he is no longer with us. He is,
and always will be one of my favorite storytellers. I piss on those who raped his work and
abbreviated his life. I hope that through this you will gain some insight into one of America's premiere filmmakers.
» CHAPTER 1: THE WILD BUNCH (1969)
|
The Films of Sam Peckinpah
|
|
|
Rusty White
|
