An aging group of outlaws look for one last big score as the "traditional" American West is disappearing around them.An aging group of outlaws look for one last big score as the "traditional" American West is disappearing around them.An aging group of outlaws look for one last big score as the "traditional" American West is disappearing around them.
- Director
- Writers
- Walon Green(screenplay)
- Sam Peckinpah(screenplay)
- Roy N. Sickner(story)
- Stars
Top credits
- Director
- Writers
- Walon Green(screenplay)
- Sam Peckinpah(screenplay)
- Roy N. Sickner(story)
- Stars
- Nominated for 2 Oscars
- 6 wins & 8 nominations total
Videos2
Jaime Sánchez
- Angelas Angel
- (as Jaime Sanchez)
Emilio Fernández
- Mapacheas Mapache
- (as Emilio Fernandez)
Elsa Cárdenas
- Elsaas Elsa
- (as Elsa Cardenas)
- Director
- Writers
- Walon Green(screenplay) (story)
- Sam Peckinpah(screenplay)
- Roy N. Sickner(story)
- All cast & crew
- See more cast details at IMDbPro
Storyline
It's 1913, and the "traditional" American West is dying. Amongst the inhabitants of this dying era are a gang known as "the wild bunch." After a failed railroad office robbery, the gang heads to Mexico to do one last job. Seeing their times and lives drifting away in the 20th century, the gang takes the job and ends up in a brutally violent last stand against their enemies deemed to be corrupt, in a small Mexican town ruled by a ruthless general. —blazesnakes9
- Taglines
- The land had changed. They hadn't. The earth had cooled. They couldn't.
- Genres
- Certificate
- R
- Parents guide
Did you know
- TriviaIn an interview, Ben Johnson said that the Mexican women who "frolicked" with him and Warren Oates in the huge wine vats weren't actresses but prostitutes from a nearby brothel, who were hired by Sam Peckinpah so he could tell people that Warner Bros. paid for hookers for his cast.
- GoofsEvery time the gang crosses from Texas into Mexico, the river is running to the west. The Rio Grande actually flows in the opposite direction.
- Alternate versionsThere have been at least four different "official" versions of The Wild Bunch since its initial release in 1969. Thanks to Paul Seydor, author of "Peckinpah: The Western Films: A Reconsideration" (1980, rev. ed. 1997: University of Illinois Press) for the following data:
- ConnectionsFeatured in Precious Images (1986)
- SoundtracksPolly Wolly Doodle
(uncredited)
Traditional
Sung by the bounty hunters as they leave Agua Verde
Top review
Let's go.
I got this movie on DVD at the suggestion of my brother. I admit to knowing nothing about it's director and a complete lack of familiarity with most of it's actors or the mythology behind it's production (I was born years after it was made). I can, however, safely say this: this is one of the greatest movies ever made. Every aspect of the film is flawless, from the acting to the cinematography to the script.
This is also the most truly macho of all macho movies. It's not cartoonish machismo, rather it's the kind of machismo you see in drywall hangers: no-nonsense comments like "We're after men" and "Let's go" predominate, the men don't swagger around and violence is approached (fairly) honestly. The reserved dialogue and physicality reminds me of "Seven Samaurai" (to which this film owes a great deal). To me, that is the highest praise that I can give a movie.
The photography is amazing: the desert looks sweltering and parched, the close-ups of actor's faces outdoes Sergio Leone and the action is probably the best ever filmed. Scorcese and Tarantino obviously owe a lot to Peckinpaw. The scene during the opening credits of "Reservoir Dogs" is a direct lift from this movie, just to cite one of countless examples.
The acting is on par with the direction. Robert Ryan steals the show and, c'mon, who doesn't love Ernest?
Some would poo-poo the films treatment of women, and I am not going to get involved in that debate. Just go see it because, like the best movies, it immerses you in a time and place. Smell the sage!
This is also the most truly macho of all macho movies. It's not cartoonish machismo, rather it's the kind of machismo you see in drywall hangers: no-nonsense comments like "We're after men" and "Let's go" predominate, the men don't swagger around and violence is approached (fairly) honestly. The reserved dialogue and physicality reminds me of "Seven Samaurai" (to which this film owes a great deal). To me, that is the highest praise that I can give a movie.
The photography is amazing: the desert looks sweltering and parched, the close-ups of actor's faces outdoes Sergio Leone and the action is probably the best ever filmed. Scorcese and Tarantino obviously owe a lot to Peckinpaw. The scene during the opening credits of "Reservoir Dogs" is a direct lift from this movie, just to cite one of countless examples.
The acting is on par with the direction. Robert Ryan steals the show and, c'mon, who doesn't love Ernest?
Some would poo-poo the films treatment of women, and I am not going to get involved in that debate. Just go see it because, like the best movies, it immerses you in a time and place. Smell the sage!
helpful•11837
- Torgo-22
- Dec 10, 1999
Details
Box office
- Budget
- $6,244,087 (estimated)
- Gross US & Canada
- $638,641
- Gross worldwide
- $638,641
- Runtime2 hours 25 minutes
- Aspect ratio
- 2.35 : 1
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