Pat Garrett & Billy the Kid (1973)

An aging Pat Garrett is hired as a lawman on behalf of a group of wealthy New Mexico cattle barons--his sole purpose being to bring down his old friend Billy the Kid.

Director:

Sam Peckinpah

Writer:

Rudy Wurlitzer

Stars:

James Coburn, Kris Kristofferson, Richard Jaeckel

Nominated for 1 BAFTA Film Award. Another 3 nominations.

Cast

Cast overview, first billed only:
James Coburn	...	Pat Garrett
Kris Kristofferson	...	Billy The Kid
Richard Jaeckel	...	Sheriff Kip McKinney
Katy Jurado	...	Mrs. Baker
Chill Wills	...	Lemuel
Barry Sullivan	...	Chisum
Jason Robards	...	Governor Wallace
Bob Dylan	...	Alias
R.G. Armstrong	...	Ollinger
Luke Askew	...	Eno
John Beck	...	Poe
Richard Bright	...	Holly
Matt Clark	...	J.W. Bell
Rita Coolidge	...	Maria
Jack Dodson	...	Howland

Storyline

It's 1881 in New Mexico, and the times they are a'changing. Pat Garrett, erstwhile travelling companion of the outlaw Billy the Kid has become a sheriff, tasked by cattle interests with ridding the territory of Billy. After Billy escapes, Pat assembles a posse and chases him through the territory, culminating in a final confrontation at Fort Sumner, but is unaware of the full scope of the cattle interests' plans for the New West.

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Plot Keywords:

mexico | new mexico | friend | sheriff | old friend | 

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Taglines:

Best of enemies. Deadliest of friends.

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Genres:

Drama | History | Western

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Motion Picture Rating (MPAA)

Rated R for western violence and sexuality/nudity

Details

Country:

USA

Language:

English

Release Date:

31 August 1973 (Hong Kong)

Also Known As:

Pat Garrett and Billy the Kid

Filming Locations:

Durango, Mexico

Box Office

Budget:

$4,638,783 (estimated)

Company Credits

Production Co:

Metro-Goldwyn-Mayer (MGM)

Technical Specs

Runtime:

122 min 122 min (1988 restored) 115 min (2005 DVD Special Edition) 106 min (Cut theatrical)

Sound Mix:

Mono

Color:

Color (Metrocolor)

Aspect Ratio:

2.35 : 1

Did You Know?

Trivia

Sam Peckinpah's alcoholism was so advanced during the making of this film that he would have to start the day with a large tumbler of neat vodka to stop his shakes. By mid-afternoon he would have moved onto grenadine. After that, he was too drunk to work. James Coburn recalled that Peckinpah was only really coherent for four hours a day.

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Goofs

(at around 1 min) During the Governor's interview with Pat Garrett at the dining table, the shadow of the boom operator is clearly visible on the table cloth to the right of the Governor.

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Quotes

Sheriff Colin Baker: Understand you been ridin' for Chisum. I'd rather be on the outside of the law than packing a badge for that town of Lincoln and them that's a-runnin' it.
Pat Garrett: It's a job. Comes an age in a man's life when he don't wanna spend time figuring what comes next.

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Connections

Version of The Outlaw (1943)

User Reviews

the film that Peckinpah set out to make

I finally got to see the recent DVD Special Edition, with what probably is the film that Peckinpah set out to make, or close to it. This is definitely not the film I saw in 1973; and, yes, it is much better. The restoration has emphasized the real beauty of much of the cinematography. And it is not only the restored 9 minutes that give the film added power, but a slight but important rearrangement of scenes that manages to convey the all-important development of Pat Garrett's character, which is the real heart of the film.

It must be noted that this was a career-defining moment for James Coburn as Pat Garrett. Garrett, a former outlaw getting on the "right side" of the law in order to "live to be old and rich", is a problematic personality: he wants to be noble, but he's too scared of aging; he sets his old colleagues against each other, leading to the deaths of many of them - he becomes an angel of death for the Old West itself, yet (unlike, say, George Steven's Shane) he doesn't represent any civilizing force to replace it with. He can't admit any of this to himself, but he can't avoid it.

Consequently, by accepting the role, Coburn accepted an opportunity to set aside his most famous incarnation as the goofy hipster of such films as "President's Analyst" and "Our Man Flint", and to pursue a path closed off with the lost opportunity in Leone's rugged but incomplete "Duck, You Sucker", to play a complex, brooding and violent man haunted by an unforgiving past. Coburn's performance, at once quiet and strong, as complex as the character demands, really makes this film; and that it is Garrett's film, not Billy's, is now clear.

Are there weaknesses to the film? Yes. The historic background to the main story is lost; this being Garrett's film, we don't really need as much of Billy as we get from the film; finally, there are moments of self-indulgence on Peckinpah's part that are distracting and unnecessary.

Peckinpah uses the film to rid himself of one of his supposed influences: the fourth major scene in the film is a remake of a scene toward's the end of Arthur Penn's "Left-Handed Gun" - by bringing it to the fore, Peckinpah is obviously getting it out of the way as quickly as possible. (Penn, not the Peckinpah of "The Wild Bunch", was the director who introduced the notion of a gunfight ending in a "bullet ballet" in "Bonnie and Clyde" - a fact some critics of the early '70s used to insist that "Wild Bunch" was somehow derivative of that film.) However, as the film goes on, a new influence shows up, and in spades - Sergio Leone's "Once Upon a Time In the West". From Coburn's dressing in black and smoking a cigar when he firsts captures Billy, to the moment when Garrett and two colleagues approach the house where Billy's staying at the end, Leone's visuals and themes rise to the taste like hot-sauce in a bowl of chili.

Peckinpah's film is not really derivative - after all, Peckinpah's West is not that of Leone - Peckinpah's West is rich in color, and surprisingly green; trees don't make any appearance at all in Leone's deserted Monument Valley (and it's Spanish equivalent)location photography; in Peckinpah's West they play a substantial role as reminders of an ever-young nature infested with aging gunmen.

Yet the fact that Peckinpah and his crew felt a need to find a reference point in Leone's film hints at the source of weakness in this film, a lack of unifying vision. Although I don't agree that the story is so episodic that its inherent power is lost, there's no denying a lack of clarity at times.

Having said all this, I still insist that this is a really good film, and a really fine end-of-an-era farewell to the American "Old West" - or rather, to it's legend - the West never was "shoot-outs on main-street" or anything like that. The reason why directors like Peckinpah and Leone made such films as this was that they and their audiences were at last waking up to that fact, that what they learned as legends were little more than historical anomalies. Yes, there really was a "Billy the Kid" - and he had no more historic importance than the average gangsta on the streets of East L.A. has today.

Nonetheless, the biographical evidence is that Peckinpah at one time believed in the myth, and certainly preferred it to the reality. It is therefore a sign of courage and artistic integrity that he chose to make films about the end of the myth, rather than glorifying it. Neither Garrett nor the Kid are really very admirable in this film; if the film feels "distant" - and it does - this is because there is no moral center to the film - and, as it happens, that was true of the real West of the 19th century as well - it was just empty space, scenery, and some misfits of various backgrounds trying to find some ways to make a living in an as-yet inhospitable domain.

It is as yet unclear whether they succeeded; certainly films like this suggest they didn't.