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   11,207 votes »
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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:
the film that Peckinpah set out to make See more (102 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)
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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
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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:
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.See more »
Goofs:
Continuity: When Cody is lying on a bed, his left arm is over the rifle, with his hand hanging from the bed, and his right hand is leaning on his left shoulder. In the next shot, when Poe touches him, his left hand is holding the rifle and his right hand leaning on the bed.See more »
Quotes:
Lemuel:You made me have a bowel movement in my britches. I ain't never gonna forgive you for that.See more »
Movie Connections:
Featured in Z Channel: A Magnificent Obsession (2004) (TV)See more »

FAQ

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18 out of 22 people found the following review useful.
the film that Peckinpah set out to make, 12 March 2007
Author: (winner55) from United States

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.

Was the above review useful to you?
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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
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
Did they really shoot chickens in the opening shot?!! yarrumlib
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