IMDb > Pat Garrett & Billy the Kid (1973)
Pat Garrett & Billy the Kid
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Pat Garrett & Billy the Kid (1973) More at IMDbPro »

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Pat Garrett & Billy the Kid -- 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.

Overview

User Rating:
7.4/10   11,399 votes »
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Down 8% in popularity this week. See why on IMDbPro.
Director:
Writer:
Rudy Wurlitzer (written by)
Contact:
View company contact information for Pat Garrett & Billy the Kid on IMDbPro.
Release Date:
31 August 1973 (Hong Kong) See more »
Genre:
Tagline:
Best of enemies. Deadliest of friends.
Plot:
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. Full summary » | Add synopsis »
Plot Keywords:
Awards:
Nominated for BAFTA Film Award. Another 3 nominations See more »
NewsDesk:
(26 articles)
User Reviews:
a laconic, sometimes-great take on iconic Western figures See more (103 total) »

Cast

  (in credits order) (verified as complete)

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

Jack Elam ... Alamosa Bill

Emilio Fernández ... Paco (as Emilio Fernandez)

Paul Fix ... Maxwell

L.Q. Jones ... Black Harris

Slim Pickens ... Sheriff Baker
Jorge Russek ... Silva

Charles Martin Smith ... Bowdre (as Charlie Martin Smith)

Harry Dean Stanton ... Luke
Claudia Bryar ... Mrs. Horrell
John Davis Chandler ... Norris (as John Chandler)
Michael T. Mikler ... Denver (as Mike Mikler)
Aurora Clavel ... Ida Garrett (as Aurora Clavell)

Rutanya Alda ... Ruthie Lee
Walter Kelley ... Rupert
Rudy Wurlitzer ... O'Folliard

Elisha Cook Jr. ... Cody
Gene Evans ... Mr. Horrell
Donnie Fritts ... Beaver

Dub Taylor ... Josh
Don Levy ... Sackett
rest of cast listed alphabetically:

Bruce Dern ... Deputy (uncredited)

Sam Peckinpah ... Will (uncredited)

Directed by
Sam Peckinpah 
 
Writing credits
Rudy Wurlitzer (written by)

Produced by
Gordon Carroll .... producer
 
Original Music by
Bob Dylan 
 
Cinematography by
John Coquillon (director of photography)
 
Film Editing by
David Berlatsky 
Garth Craven 
Tony de Zarraga  (as Tony De Zarraga)
Richard Halsey 
Roger Spottiswoode 
Robert L. Wolfe 
 
Casting by
Patricia Mock 
 
Art Direction by
Ted Haworth 
 
Set Decoration by
Ray Moyer 
 
Makeup Department
Jack Wilson .... makeup artist (as Jack P. Wilson)
Herbert Smith .... makeup artist (uncredited)
 
Production Management
Jim Henderling .... unit production manager
Alfonso Sánchez Tello .... production manager: Mexico (as Alfonso Sanchez Tello)
 
Second Unit Director or Assistant Director
Newt Arnold .... assistant director (as Newton Arnold)
Gordon T. Dawson .... second unit director (as Gordon Dawson)
Jesus Marin Bello .... assistant director: Mexico
Lawrence J. Powell .... second assistant director
 
Art Department
Robert J. Visciglia Sr. .... property master (as Robert John Visciglia)
 
Sound Department
Harry W. Tetrick .... sound
Charles M. Wilborn .... sound
Bill Wistrom .... supervising sound editor (uncredited)
 
Visual Effects by
Augie Lohman .... special visual effects (as A.J. Lohman)
 
Stunts
William H. Burton Jr. .... stunts (uncredited)
Gary Combs .... stunts (uncredited)
Jerry Gatlin .... stunts (uncredited)
Bill Hart .... stunts (uncredited)
Whitey Hughes .... stunts (uncredited)
Harrold Laswell .... stunts (uncredited)
Walter Scott .... stunts (uncredited)
 
Camera and Electrical Department
Herbert Smith .... camera operator
Gabriel Torres .... director of photography: second unit (as Gabriel Torres G.)
 
Costume and Wardrobe Department
Michael Butler .... wardrobe
 
Music Department
Dan Carlin Sr. .... music editor (as Dan Carlin)
Carl Fortina .... musician: accordion soloist (uncredited)
Jim Keltner .... musician: drums (uncredited)
Dan Wallin .... scoring mixer (uncredited)
 
Other crew
Katherine Haber .... production staff (uncredited)
'Chema' Hernandez .... head wrangler (uncredited)
 
Crew verified as complete


Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Pat Garrett and Billy the Kid" - USA (poster title)
See more »
MPAA:
Rated R for western violence and sexuality/nudity
Runtime:
122 min (1988 restored version) | 115 min (2005 DVD Special Edition) | 106 min (Cut theatrical version)
Country:
Language:
Color:
Color (Metrocolor)
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Certification:
Australia:PG | Australia:M (Cable TV rating) | Australia:MA (DVD rating) | Canada:14A (TV rating) | Finland:K-18 (uncut) | Finland:K-16 (cut) (1987) (video release) | Iceland:16 | Netherlands:18 (original rating) | Norway:18 | Portugal:M/18 | Singapore:M18 | Sweden:15 | UK:18 | UK:X (original rating) | USA:R | West Germany:16
Filming Locations:

Did You Know?

Trivia:
Film debut of Bob Dylan.See more »
Goofs:
Continuity: The amount of whisky in the bottle at Lemuel's varies depending upon whether the shot is from behind Holly or from behind Garrett.See more »
Quotes:
Pat Garrett:[to the prostitutes undressing him in his as the start to take off his longjohns] Pull hard. They've been on a long time.See more »
Movie Connections:
Referenced in Be Cool (2005)See more »

FAQ

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14 out of 18 people found the following review useful.
a laconic, sometimes-great take on iconic Western figures, 11 April 2007
Author: MisterWhiplash from United States

Sam Peckinpah really is not the full problem or liability with Pat Garret & Billy the Kid, though he's not totally innocent in what shortcomings come with the film. The story by Rudy Wurlizter provides a mix of extraordinary scenes and some all-too laid-back ones or scenes that don't feel like there is any real dramatic pull or total interest in the dialog. The other great scenes, which make up the most memorable bits of the film, provide Peckinpah with enough to put his distinctive visual style and subversive approach to character dynamics and conventions of the Western genre, but the parts end up becoming greater than the whole. The version I saw, the 2005 cut, doesn't seem like it would do any more or less better with fine tuning, and it does feel like a Peckinpah movie more often than not. The story is simple, and has been told more times than one could try to count unless in historical context of the genre: Billy the Kid is a murderous criminal out on the lam, and Pat Garret, the sheriff, is out to get him by hook or by crook. The twist that Peckinpah provides at the core is that it's not a completely intense thriller with a lot of chases, but more of a journey where the two men- who before becoming Dead-or-Alive Wanted-man and newly appointed Sheriff were sort of on friendly terms (as first scene shows well and clear)- are not in a big rush to meet their fates, even if the whole experience is starting to make things all the more embittered.

Pat Garret & Billy the Kid does provide, at the very least, some very great scenes throughout- some of the best I've seen in any Peckinpah film- and is a reminder of why the director was an important figure, and remains as such, in American cinema. Scenes like the river-side bit where Pat Garret shoots at the same bottle floating in the river as the guy with his family on the river-raft does; the astoundingly dead-pan shooting scene between Billy (Kris Kristofferson) and Alamosa (Jack Elam) where they sit down for a peaceful meal and go to it without much of a fuss in front of Alamosa's family; the scene with Garret getting the man to drink in the bar too much as Alias (Bob Dylan) reads off the products on the other side of the room in order to shoot him down; the scenes (in the 2005 cut that seem fairly important) showing Garret and his attitude towards women, either with his wife or with the prostitutes. It's a shame then that after the first twenty minutes or so, which includes that unforgettable shoot-out (one of the best in Peckinpah's Westerns) as Garret first corners Billy at the hide-out and drags him off to a not-quite jail before his escape, it then goes sort of up and down in full interest.

It's not that I wouldn't recommend Pat Garret & Billy the Kid, far from it, and especially for fans of the genre looking for a grim turn of the screws on one of those old-time mythic Western stories. The only main issue is that, in an odd way, the other side of the coin that Peckinpah and his writer are working with here- subversion- has the side of almost being too at ease with itself, of being too comfortable just rolling along. This might be in part due to the leads themselves; Coburn, to be sure, is a pro as always and is especially good in the almost anti-climax at the Fort, but Kristofferson is not very well-rounded, and comes off as being sort of all grins and smiles when he should be living up a little more to his reputation. It's so against-the-grain of the old-west that it comes close (though it doesn't, contrary to what Ebert said in his review) to being dull. Luckily, Peckinpah never lets it get too uninteresting, and there's always something to look forward to, like the touching, actually poetic final scene with Slim Pickens, and seeing the likes of Stanton, Elam and Robards in various roles.

Dylan, on the other hand, is sort of a double-edged sword here. The music that he provides for the film, which includes guitar segways, lyricism and some classic songs (with 'Knockin' on Heaven's Door' just the right effect when used), is one of the very best things about the movie. But his presence as "Alias" is not as good. He seems to be there more for the sake of being in a Western, or a Peckinpah movie, and taking aside his shtick about feeling like he was a character here in a previous life or whatever, he's almost a non-entity, and alongside the seasoned character actors and old pros at doing this it doesn't feel quite right. This being said, he's not too much of a deterrent, and it's great having the music put to scenes that wouldn't be the same without it all. And, of course, it's Peckinpah all the way, with the men in a sort of damned state of affairs, knowing deep down that the chosen paths are not very easily traveled, and always surrounded by the most distinct, brutal and realistic violence possible. It's the kind of Western I probably wouldn't pass up if it came on TV and I had a good shot of whiskey, though it doesn't reach the level of practical perfection like the Wild Bunch.

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Message Boards

Discuss this movie with other users on IMDb message board for Pat Garrett & Billy the Kid (1973)
Recent Posts (updated daily)User
Did they really shoot chickens in the opening shot?!! yarrumlib
Another contender for 'best line in the movie' ccamp3175
Music whe Billy is arrested by Pat droogy69
Why not release a new DVD? brandon-caplan
Estevez JMFOX
Which is the most 'Bob Dylan-y' cut? xavierdragonlamas-178-423469
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