Pat Garrett e Billy the Kid

I enjoyed the film very much, in part because Peckinpah continues his theme, as he did in "Ballad of Cable Hogue" and "The Wild Bunch", of the illusion of who is "good" and who is "evil." Also, Peckinpah mourns the passing of people such as Garrett and Billy; at one point Garrett says to Poe, "This country's getting old, and I'm to get old with it." Garrett knows that he and Billy, among others, are to disappear from the West as big business and civilization advance, and Garrett tries to avoid this by selling out to Chisum (Barry Sullivan) and the Santa Fe Ring. But Garrett is a torn man; he is trying to avoid the tide of history by avoiding the eventual meeting with Billy, while also trying to avoid the financial forces (e.g., Chisum) that are making individuals such as himself disappear, so that big business will take over. The entire film is really a depiction of Garrett and Billy avoiding each other in order to resist historical forces that they would have a better chance of surviving if both of them left New Mexico or if both of them were on the same side. However, Garrett feels that aligning himself with the ranchers is better for survival, but in the end the hand that fed him, so to speak, is the same hand that destroys him. A truly poetic, and quite elegiac film, one that I feel is underrated among Peckinpah's films.

Sam Peckinpah's "Pat Garrett and Billy the Kid" has much in common with "One-Eyed Jacks"; Marlon Brando's take on the Billy the Kid story, which was based on Charles Neider's novel, "The Authentic Death of Hendry Jones".

Although Neider's book, ridiculously renamed "Guns Up" in a Pan paperback edition (the one I read), is a fictionalised account, it is an unforgettable masterpiece, invoking a unique sense of nostalgia for the Old West. Peckinpah loved the book and was inspired to write what turned out to be the first screenplay for "One-Eyed Jacks", later made by Marlin Brando who changed just about every element.

Although Peckinpah dropped out of that project early, when he finally got a chance to make his version, he moved a long way from Neider's book. In fact, the script moved closer to the historical record. However, although Neider's book is not credited, it's obvious that Peckinpah tried to capture its spirit.

The story tells how Pat Garrett and Billy the Kid once rode together, but eventually found themselves on opposites sides of the law. When Billy brutally escapes from jail, in one of the film's best sequences, it sets in motion a ruthless hunt by Pat Garrett, which can only have one ending.

Peckinpah actually frames the film with the death of Garrett. This sequence along with others have the trademark Peckinpah slow motion deaths with arching blood spray - techniques that had already become a little hackneyed even by 1973.

However, the central problem was in Peckinpah's casting of Kris Kristofferson. Not so much, as many reviewers have suggested, that at 37 he was too old to play Billy the Kid, but more because he just didn't project the necessary sense of danger; he comes across as too affable, too laid back. Brando in "One Eyed Jacks" gave a stunning performance as a man with a dangerous edge, and although it might seem unfair to compare the two, that lack of threat is a key weakness in Peckinpah's film.

Bob Dylan is in the movie and also provides a couple of very nasally songs on the soundtrack; his presence isn't just anachronistic, it's bizarre.

On the other hand, James Coburn is just about perfect as Pat Garrett, and the rest of the cast is probably the greatest coming together of iconic stars from western movies ever - Chill Wills, Slim Pickens, Jack Elam, LQ Jones, Katy Jurado, Gene Evans, Paul Fix and others - one of the joys of the film is in spotting them.

Apparently the film was badly cut by the studio. Despite that, and some strange decisions by Peckinpah himself, the film is nothing less than interesting. But because of all the tampering, like Brando's film, it misses out on greatness. As for Neider's book, it still awaits the right filmmaker to give it the definitive treatment on the screen.

Opening with the gunning down of Pat Garrett in 1909, we flash back to 1881 where Garrett has been hired to bring his ex-partner in crime Billy the Kid to justice. The story unfolds against a backdrop of a west that is moving forward, driven by businessmen (represented by Chisum) leaving behind the 'old ways'.

Of modern (ie after 50's and 60's) westerns Once Upon a Time in the West stands out as the best. However I feel that this film covers similar themes, of the death of the cowboy way and passing of times. The story is not really a duel between Pat and Billy but more a look at times changing around them – with Garrett changing with them and Billy trying to remain still. The story is well told with plenty of good characters, great setups and interesting dialogue. The relationships and the look at the old west 'code' easily hold the interest.

Peckinpah does plenty of good work here – for example intercutting the killing of Garrett with the killing of chickens etc, making it visually clever too. However his best move is the use of Bob Dylan's score – it could have been intrusive and made the film feel tacky and like it tries too hard to be hip. Instead the score works well and gives the film a soulful feel.

The cast is not only superb but deep with talent. Coburn is as good as ever as Garrett, struggling to move with times he doesn't approve of. Kristofferson is good, but his character of Billy is not well developed, but he still has a strong role to play. The support cast is full of famous faces from Westerns and a few actors just starting out – slim Pickens, Chill Wills, Jack Elam, Luke Ashew, Charles Martin Smith, Harry Dean Stanton and a good part for Bob Dylan.

If you're watching it – make sure you've got the restored version that adds 15 minutes and uses the score better. The director's version makes more of the role of Boss Chisum and fills the story out with playful brothel scenes and delivers a few more cameos. It makes a big difference to the film and lifts the story above being Garrett versus Billy the Kid.

Overall an excellent western from one of the greats at this type of thing.

This movie begins with a very cruel opening scene. For kicks, Billy the Kid, his friends and Pat Garrett are shooting the heads off chickens. Unfortunately, it appears as if the scene is 100% real. Now the blood and headless chickens didn't sicken me, but killing any animal for entertainment's sake seems sick--and is one of the few cases where I'd agree with the PETA folks. At least in other Sam Peckinhaph films where you see killing, it's all fake and it involves people who have a choice in the matter.

"Pat Garrett & Billy the Kid" is a revisionist film. Instead of all the old clichés of westerns, it keeps a few and introduces some new ones. In some ways it appears more realistic than earlier westerns, but to a retired history teacher like me, it's still a real mess. First for the good. Most of the folks in this film DON'T wear cowboy hats, they are often pretty filthy and some of the killing is far from glorious--such as shooting your enemy in the back. You certainly didn't see this in Roy Rogers' films and it's nice to see SOME attempt at realism. Now for the bad. Although the film looks more like the real West, it promotes a stupid stereotype of the bandit as a hero. The real-life Billy the Kid was a pretty ugly guy (based on the one surviving picture of him) and a murderer. He was NOT a hero of the people who fought against the evil cattle barons--he was just a cheap hood. But, here in "Pat Garrett...", he's handsome Kris Kristofferson and he is a force of good in a West filled with evil. He murders, but the men are enemies of the people and rapists. Instead, the lawman Pat Garrett is the nasty bully--the creep given a gun and told to kill for corporate America. If you think about it, this is a western for the Occupy Wall Street folks...but not history teachers!

Apart from all the inaccuracy, is it a good film? Maybe. It all depends on what you are looking for in a film. If you want the usual Peckinpah slow-motion violence with lots of unrealistic blood, swearing and occasional nudity, then you'll probably like the film very much. If this sort of stuff turns you off, then the film may be tough going--even with some nice performances. As for me, I found it all to be slow...very slow. And, since I'm not particularly a Peckinpah fan, I felt like it was a decent time-passer and nothing more.

Pat Garrett and Billy the Kid is a unique western. Parts of it are just brilliant, other moments are bungled, but it is composed and structured like no other movie from the genre.

Everyone knows the western legend about these two central characters, who went from being friends to sworn adversaries. The leading performances of James Coburn (Garrett) and Kris Kristofferson (Billy) are rather colourless, but the subsidiary characters are beautifully delineated. There are some pretentious moments. For example, near the start Billy is arrested and as he makes his way towards the lawmen who have come to take him, he adopts a Christ-like pose which is presumably meant to signify that he was some kind of martyr among Wild West outlaws (when, in reality, he was probably just a psychopath).

However, there are stunning moments in the film too. In fact, the scene in which Slim Pickens stumbles, wounded and mortally bleeding, to a riverside so that he can die peacefully is arguably the most moving scene ever in a motion picture. The acting, the music and the photography fit together harmoniously to make this a truly magical cinematic moment.

One word of warning: beware of the incoherent, chopped-up 106 minute version of the film. If you're planning to watch it, go for the full 122 minute director's cut, which is immeasurably superior.