In the Wild Bunch the movie opens with a group of aging outlaw's final score, a bank robbery. The event concludes with a violent and overtly bloody shootout that would generally mark the finale of a movie. This is correct in that it marks the finale of an era, for the characters and the world they live in. They simply can no longer keep up, the times are changing, technology advancing, and they're style of life is getting left behind in the dust that they spent so long galloping through. They abandon their careers for the simpler life of retirement. They enjoy this time, they live their fantasies. During this time the law is always on their tracks, bounty hunters. The further into their fantasy they get, the closer their demise seems to get. When one of their own is captured they are faced with the choice of escape or what is certainly a suicide mission to attempt and free their fallen behind comrade. For them it is not a choice. They all die in what can only be described as a ... Written by
Sam Peckinpah's collaboration with producer Phil Feldman started out better than any he'd ever had, or would ever again. L.Q. Jones commented, "If it wasn't for Phil Feldman, I don't think Sam would have made anything of consequence. Phil understood that you don't harness a hummingbird." Feldman gave Peckinpah tips on characters, dialogue lines, scene placement and even changed Peckinpah's mind on how the scorpions-consumed-by-ants shots should be integrated into the opening credits. See more »
When Edmund O Brian or Freddie Sykes in the movie, goes to the rocks to relieve himself, the gang throws a bundle of dynamite at him for a laugh. He pulls out the cap and fuse, however the sound of the cap exploding is never heard. See more »
Do not drink wine or strong drink, thou, nor thy sons with thee, least ye shall die. Look not though upon the wine when it is red, and when it bringeth his color in the cup, when it moveth itself aright at the last, it biteth like a serpent and stingeth like an adder. Now folks, that's from the Good Book, but in this here town it's five cents a glass. Five cents a glass, now does anyone think that that is a price of a drink?
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"The Wild Bunch" is one of those movies people don't agree on, even those that agree it's great. It's definitely complex, entertaining in a disturbing way, and manages to be at once nihilistic and moralistic, not an easy trick, especially for a cowboy film.
The first problem we have to deal with when watching this film is the fact there's very quickly a gunfight going on and, against all movie convention, no one to root for. There's an all-star cast on one side, including William Holden, Ernest Borgnine, Ben Johnson, and Warren Oates, but against all expectation, they turn out to be a pretty black crew. About the first thing out of Holden's mouth, said about a cowed group of innocents, is "If they move, kill 'em," and before the battle is over, we've seen him and his team commit all sorts of savagery. About the only reason we don't immediately see them as evil is that the people they battle are no better.
Over time, we are encouraged to find something of value in Holden's Pike Bishop and his ruthless confederates, as they ride away, lick their wounds, and try to figure out how to get something else going, anything. The only problem is its 1913 and these outlaws are running out of time and options. "I'd like to make one good score and back off," is how Pike says it, to which Borgnine's faithful buddy Dutch exclaims: "Back off to what?!"
Chasing the bunch, and offering the viewer the film's one sympathetic character, is Robert Ryan as Deke Thornton, a former partner of Pike's who doesn't want to go back to jail and for whom killing the bunch is the one unpleasant means of securing his freedom. Ryan, who died in 1973, is probably not as recognizable as the other leads today, but he lends a sad, elegiac presence to his on-screen moments that give the film much of its grace and warmth.
The final star is director Sam Peckinpah, who made a truly revolutionary film that not only pushed the art of film forward but holds up today as a cinematic experience. Time has been kind to this film in a way it hasn't to other ground-breaking auteur moments from the same era, like "MASH" and "Easy Rider." When "The Wild Bunch" came out just as the 1960s were ending, people were truly shocked by the violence and cruel characters. Today, of course, such things are so common, and so mindlessly celebrated, that we find ourselves admiring what Peckinpah does for the surprisingly subtle and restrained way he goes about presenting us with mayhem and carnage, and his refusal to glorify it, however exciting and entertaining the overall package.
Surprisingly for a director who had trouble getting work at the time, Peckinpah landed three Oscar winners in the cast, and a fourth, Ben Johnson, who'd win his a couple of years later. Obviously, the acting is strong, each player investing his spare lines with the right degree of space and spirit, but it's probably worked even better that the movie game in 1969 was in the process of passing the fuddy-duddy likes of Holden, Borgnine, and Edmond O'Brien behind. This makes them very believable as a group of hard-nosed has-beens. In that light, it's kind of cool how hip this film so quickly became when it was released.
It's such a good film it's easy to overlook minor weaknesses. There's a nice bit of symbolism in the beginning, now famous, where the gang rides past a group of children tormenting scorpions and ants, but the point, once made, is beaten into the ground. There are some bits of convenience that stick out, like when a gunned-down outlaw rises and mows down his attackers with a few too-precise shotgun blasts. The general dislikeability of just about everything and everybody does feel a bit of a weight after a couple of viewings.
But what's great is just awesome, especially that opening sequence and the final showdown at Bloody Porch. Such terrific punch-drunk ambiance, it's almost a shame to watch it sober. The feeling of a new era coming upon us, which we see in everything from the doughboy uniforms at the outset to the car General Mapache rides around in, is redoubled by the glorious splendor, even clarity of this picture. Is it too much to praise a movie for the quality of the film stock itself? This is a paradox film, one about obsolescence and growing old that remains startling new-looking and fresh 35 years on.
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