Cockfighter

Being a major fan of American movies of the 1970s 'Cockfighter' has been like a Holy Grail for me for as long as I can remember. When I finally got a hold of a copy I'm happy to say it more than lived up to my expectations. I think it's one of the most extraordinary movies of the decade, and further proof that Monte Hellman is one of the most underrated directors of all time. Hellman, like many other film makers, got his first big break working for Roger Corman, directing 'Beast From Haunted Cave' in the 1950s. He then went on to work on Corman's 'The Terror' alongside Coppola and Jack Hill, and edited the biker classic 'The Wild Angels'. Hellman never became a Hollywood legend like Coppola, or a much loved exploitation cult hero like Jack Hill, and has always had difficulties getting his movies made. Why, I really don't know, just watch 'The Shooting', 'Two-Lane Blacktop' and 'Cockfighter' back to back and tell me that he isn't a major talent. After going their separate ways for some time Corman and Hellman reunited for 'Cockfighter'. Apparently Corman hated the ending and the movie is supposedly one of the very few that lost him money, but I think it's an amazing achievement. The controversial bird fighting sequences are very brutal and very beautiful. Animal lovers will abhor the movie for this reason. The morality of filming them is very problematic, even Hellman admits he was disgusted doing it. Aside from that can of worms 'Cockfighter' features a superb performance from Warren Oates, one of his very best ever, so if you are an Oates fan you MUST try and see this movie! Hellman and Oates worked on four movies altogether, and the supporting cast also includes Harry Dean Stanton and Millie Perkins, who had three Hellman movies apiece, and Laurie Bird who co-starred in 'Two-Lane Blacktop'. On top of that you have some strong performances by a whole bunch of character actors like Warren Finnerty ('Cool Hand Luke'), Ed Begley Jr, Steve Railsback (in one of my favourite scenes) and - one of the biggest surprises - Troy Donahue, who has a memorable cameo as Oates alcoholic brother. Richard B. Shull is great as Oates' partner, as is Patricia Pearcy who plays his love interest. Even Charles Willeford who wrote both the movie script and the original novel it was based on has a great bit as a fight official. 'Cockfighter's explicit fight sequences will repel most people but if you persevere you'll witness some brilliant acting, especially from Warren Oates. 'Cockfighter' has immediately rocketed into my all time favourite movies list.

I`ll be quick and to the point without going into details about the film itself. I caught this a few years back for the first time on one of the movie channels and became immediately engrossed in it. A terrific character study with a performance by the late-great Warren Oates that consumes the screen.

The kind of film most people don`t have the attention span for anymore....and that`s a shame. If you`re familiar with Hellman`s work, and appreciate it, it`s a must see. 8/10

"Cockfighter" is not an easy movie. It doesn't have one of those carbon-copy scripts that you can write like cheap romance novels. It doesn't have characters that cater to what the stars think will make them look good. There is no spoon-feeding here.

Just re-released for sale on tape (and DVD), this film is now available again for those who like to watch a movie that honestly takes you someplace that few of us have ever been. Warren Oates plays a character who lives by a moral code much like the people in the pulp westerns and detective stories -- a man's honor is shown by his actions, and his willingness to see his convictions through to whatever end may come. After letting his pride destroy his chance of winning a high honor amongst cockfighters, he takes a vow of silence that will last until he earns that honor.

While the scenes of actual cockfights can be distressing, they are essential to showing the viewer the main character's struggle as well as his obsession. When the character's love interest is added to the equation, the story takes on an epic quality formerly reserved for tales of a knight trying to win the love of his lady and the respect of his peers.

Perhaps that may be giving the film too much credit, but I don't think so. While there are plenty of exploitational elements to draw a wide audience, the actual meat of the film is a man seeking redemption and honor.

Find this movie. Watch it. Enjoy it. And see if it doesn't stick in your mind a heck of a lot longer than the average contemporary "Hollywood" movie.

Monte Hellman and Sam Peckinpah recognized the particular genius of Warren Oates, and it saddens me to think that younger film goers know little about Oates, and even less about Hellman. Makes a good companion piece for "Bring Me the Head of Alfredo Garcia." Although both films have similar plot devices, the performances by Oates are bravely unique, and moving in their fearless creativity.

The DVD includes a documentary about Oates that is a welcome companion to the feature. Esteemed critic David Thomson points out that Oates was not afraid to play dumb (unlike his occasional co-star Jack Nicholson, who always has to show the audience his underlying intelligence as a safeguard). And the commentary track, although low in volume, is worth leaning close and listening to 'back stage' stories about the production. In particular: Roger Corman's angry reaction to the final scene written for the final draft of the script.

This final scene of the movie is poetic and ambiguous, nothing you'd expect from a so-called exploitation picture. Maybe that's why Corman didn't approve. "Cockfighter" is at least half documentary, with real people in supporting roles, and filming real contests in cockpits in Georgia. Because Oates was so authentic, it would be easy to forget that this is a well-crafted performance from one of the most under-rated film actors who ever lived.

"Cockfighter" is one of a number of collaborations between Monte Hellman and Warren Oates, with a brilliant, austere script written by Charles Willeford (also author of the book) and equally simple yet elegant cinematography by Nestor Alemendros, D.P. of Malick's "Badlands" and "Days of Heaven".

This film really captures an emerging respect and relationship between Hellman and Oates, who barely utters a word through the whole film. Like "The Shooting", "Ride in the Whirlwind" and "Two-lane Blacktop", Hellman turns to Oates for a unique and character-driven performance.

It's qualities envoke a very specific 60s and 70s motif of existentialism, a rambling from place to place and between relationships. Oates' stoicism really carries the feel of the film, with very honest performances from supporting actors Harry Dean Stanton, Richard B. Shull and Laurie Bird.

While not wanting to ruin the plot, it must be stated that the "sport" of cockfighting, while playing a part in the plot and cinematography, is really the backdrop of the story. Oates' Frank Mansfield is the true subject of the film, who, from the beginning, is a broken man on a mission, willing to keep going against the odds for his small piece of redemption. His path is very idiosyncratic, yet empathy for his positions and desires is universal.

From the cover and other reviews, it may seem that "Cockfighter" is an adventure film, rife with shock value and violence. While there are distinctly beautiful and poignant images of cockfighting (animal lovers beware), it's pace and personality are more like that of an "art film". In an effort to market the film by famed "shock" producer Roger Corman, posters and alternate titles ("Born to Kill") depict a film for a mass, Middle-American audience ready to see blood drawn.

As a huge fan of Hellman and Oates, especially Cockfighter, my opinion is that the marketing of the film and it's outer "cover" (literally and figuratively) were designed to get it seen at any cost.

This is Independent Film before it had a name, when it was simply at any cost and by any means. "Cockfighter" is a film full of philosophy, humility and respect, underrated if one ever was.