In this adaptation of the 'Robert Ludlum' (q.v) novel, the host of an investigative news programme has been convinced by the C.I.A. that the friends and associates he's invited to weekend ... See full summary »
In 1864, due to frequent Apache raids from Mexico into the U.S., a Union officer decides to illegally cross the border and destroy the Apache, using a mixed army of Union troops, Confederate POWs, civilian mercenaries, and scouts.
A family scandal causes a wealthy and powerful Mexican rancher to make the pronouncement--'Bring me the head of Alfredo Garcia!' Two of the bounty-hunters thus dispatched encounter a local piano-player in their hunt for information. The piano-player does a little investigating on his own and finds out that his girlfriend knows of Garcia's death and last resting place. Thinking that he can make some easy money and gain financial security for he and his (now) fiancée, they set off on this goal. Of course, this quest only brings him untold misery, in the form of trademark Peckinpah violence. Written by
Tad Dibbern <DIBBERN_D@a1.mscf.upenn.edu>
Although this was only her second English language film, Isela Vega was playful and bold in her scenes with Warren Oates, continuing Elita's prodding of Bennie to propose marriage even after Sam Peckinpah had called "cut"... and prompting from the unprepared Oates a palpably emotional in-character response. According to Kris Kristofferson, who plays a small role as the motorcycle rudo who interrupts this romantic scene, Peckinpah not only printed the improv but rewrote the scene to follow because of it. See more »
As Bennie crosses inside his apartment, alone, and talks to Alfredo's head, a crewman in black clothing is visible, ducking behind an adjacent transom. His arm reappears a second later, as Bennie reaches for a bottle in the pantry. See more »
Hell, I wasn't trying to hit them, you know
I know you weren't.
I used to shoot a lot of pistols when I was in the army.
You're a nice gringo. You didn't have a thing to do in the army anyways.
You'd be surprised, honey.
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There are only three credits at the beginning of the film: The production credit, the two stars, and the story/screenplay. Everything else is at the end, and the film's title is the very last credit. See more »
It is my humble opinion that Bring Me the Head of Alfredo Garcia comes as close to capturing the maddening drive of man as any movie. That is to say that it sits at the same table as the greats, perhaps across the way from Citizen Kane or Raging Bull. If you contest this it is perhaps only because the film is not as beautiful, not as magnificent, as the rest of its ballpark. I would argue that that is partially the point.
Bennie's quest is stripped to its core so that the brutality of the film is expressive of Bernie himself. There is not a violent film with more validity for its actions than this one, it is the maddening human mind which causes deaths here. Peckinpah shows us everything that is important in this man's life and then shows us what a man is capable of doing once all that is taken away. The difference between this film and other similar films is perhaps that the movie has such humble beginnings. We build ourselves inside of Bennie. When we first meet him he is casually and happily playing the piano, quietly dreaming of settling into a different kind of love. We share a quiet picnic with him, witness his wedding proposal.
Perhaps also there has never been a chaotic killing spree that has seemed this environmental. While usually the hero goes on a rampage in a way that is appropriately heroic itself, Bennie is no hero. He is a man forced into a situation by the world around him, as it seems he is always forced into situations. Since he is never the man he wants to be it seems natural that he would become the kind of man that is the amalgamation of love and hate.
All the emotion a movie in this genre could handle.
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