La Horde sauvage

Probably one of the most controversial films ever made, the Wild Bunch was equally hated and admired upon it's release over 30 years ago. Even today, as proof of it's staying power, it is still widely debated if Sam Peckinpah made a masterpiece or a monstrosity. Personally, I'm of the firm belief that Peckinpah contributed one of the finest American films of the last century.

The chemistry that Peckinpah was able to put on celluloid for this film is brilliant. William Holden and Ernest Borgnine as the leaders of the Bunch, play their roles with conviction and tenacity. Robert Ryan, once an outlaw with Holden, and now forced to hunt him down, portrays the tortured individual caught between an old friendship and the threat of incarceration in a vicious prison. Ben Johnson and Warren Oates are solidly believable as real life brothers as they depict their roles as Tector and Lyle Gorch, and finally Jaime Sanchez rounds out the gang as the fiercely patriotic Mexican, Angel.

Also a Peckinpah movie wouldn't be complete without L.Q. Jones and Strother Martin portraying the cowardly, scheming, body robbing bounty hunters eager for the money on the heads of the Wild Bunch.

This is a film that you can re-visit time and time again and relish the depth of the characters and feel their desperation as the west that they once knew has now become a distant memory.

Apart from the great casting, the tight scripting , exciting stuntwork, wonderful cinematography, gripping dialogue, and first class editing of the gunfights, this movie will be continually looked upon as one of the most important films of American cinema.

See it, enjoy it and experience great movie making!!

Outlaws led by Pike Bishop on the Mexican/U.S. frontier face not only the passing of time, but bounty hunters (led by former partner of Pike, Deke Thornton) and the Mexican army as well.

In 1969 Sam Peckinpah picked up the torch that Arthur Penn lit with 1967's "Bonnie & Clyde", and literally poured gasoline on it to impact on cinema to the point that the shock wave is still being felt today. The death of the "Motion Picture Production Code" in 1967 ushered in a new era for cinema goers, it was a time for brave and intelligent directors to step up to the plate to deliver stark and emotive thunder, and with "The Wild Bunch", director Sam Peckinpah achieved this by the shed load.

The Wild Bunch doesn't set out to be liked, it is a harsh eye opening perception of the Western genre, this is the other side of the coin to the millions of Westerns that whoop and holler as the hero gets the girl and rides off into the sunset. Peckinpah's piece is thematically harsh and sad for the protagonists, for these are men out of their time, this is a despicable group of men, driven by greed and cynicism, they think of nothing to selling arms to a vile amoral army across the border.

The film opens with a glorious credit sequence as we witness "The Bunch" riding into town, the picture freeze frames in black & white for each credit offering, from here on in we know that we are to witness something different, and yes, something very special. The film is book-ended by ferocious bloody carnage, and sandwiched in the middle is an equally brilliant train robbery and a slow-mo bridge destruction of high quality. Yet the impact of these sequences are only enhanced because the quality of the writing is so good (Walon Green and Roy N. Sickner alongside Peckinpah).

There's no pointless discussions or scene filling explanations of the obvious. Each passage, in each segment, is thought through to gain credibility for the shattering and bloody climax. There is of course one massive and intriguing question that hangs over the film - just how did Peckinpah make such low moral men appear as heroes, as the "four outlaws of the apocalypse" stroll into town, their fate to them already known?. Well I'm not here to tell you that because you need to witness the film in its entirety for yourself. But it's merely one cheeky point of note in a truly majestic piece of work. A film that even today stands up as one of the greatest American films ever made. 10/10

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 simply one of the best westerns, maybe overall best films ever made. Peckinpah's best by far. It is one of those films that grabs you by the thoat and doesn't let you go until it is over. Brilliant casting. I would be hard pressed to find someone who could have played Pike's part better than William Holden. But the rest of the cast for the main characters: Ernest Borgnine, Robert Ryan, Warren Oates Ben Johnson, Jaimie Sanchez and Edmund O'Brien are equally effective in their respective roles. Even the secondary actors, namely Strother Martin and LQ Jones are also great as the "gutter trash" bounty hunters Robert Ryan has to lead in chasing down Pike and his band.

This movie deals with aging gunfighters who had outlived their era, and see their "code of conduct" now passe' in the early 20th Century on the eve of World War I. Technology

in the way of cars, planes, and machine guns has rendered living and dying more impersonal than in Pike's et. al day. In some ways, with the end of the millennium at hand and all the vast technological changes, and changes in values, habits, and lifestyles that have taken place, even in the last couple of decades, many of us viewing the picture can sense just a bit of empathy with the main characters... Although this movie is an action film, there is a sort of foreboding throughout the film that the end is near for them. Yet when it occurs it will happen on their terms. One of my favorite scenes is when Pike and Dutch are sitting in their bedrolls by the fire at Angel's village. Pike talks about the railroad man Harrigan and how "some people just can't stand to admit they're wrong... or learn by it!" And then Dutch asks Pike if he believes they had learned anything today, referring to the bloodbath in the opening scene in Starbuck, to which Pike replies "I sure hope to God we did." The movie when released in 1969 received a lot of criticism for the violence, which was indeed unparralelled at that time. But it is relatively tame by today's standards. Moreover, the violence is not gratuitious as we see in so many films today. You see consquences to the violence hence the "death ballet." the two children holding each other during the shootout in the opening scene, and Robert Ryan's agonizing chagrin at carnage in the street and noticing the young children emulating the gunfighters in the street, the dead bodies not yet removed.. A suprising number of people who have seen this film have not seen the Director's Cut which was re-released in 1994. It puts back in many key scenes, which develops Pike and Deke Thorton's past, which is crucial to tying the movie together and making it a brilliant film. Without these scenes, then it makes little or no sense.. Unfortunately, many television stations when showing this film show the "butchered" version........

A 30th Anniversary addition has recently come out that includes a half-hour documentary "The Wild Bunch: A Portait in Montage, " which, made in 1996 received much acclaim, including an Oscar Nomination.. It makes the viewer even more appreciate Peckinpah's brilliant improvisational skill as well as the technical feats, such as the unforgettable Rio Grade river bridge scene.

"The Wild Bunch" is one of those movies people don't agree on, even those that agree it's great. It's definitely complex, entertaining in a disturbing way, and manages to be at once nihilistic and moralistic, not an easy trick, especially for a cowboy film.

The first problem we have to deal with when watching this film is the fact there's very quickly a gunfight going on and, against all movie convention, no one to root for. There's an all-star cast on one side, including William Holden, Ernest Borgnine, Ben Johnson, and Warren Oates, but against all expectation, they turn out to be a pretty black crew. About the first thing out of Holden's mouth, said about a cowed group of innocents, is "If they move, kill 'em," and before the battle is over, we've seen him and his team commit all sorts of savagery. About the only reason we don't immediately see them as evil is that the people they battle are no better.

Over time, we are encouraged to find something of value in Holden's Pike Bishop and his ruthless confederates, as they ride away, lick their wounds, and try to figure out how to get something else going, anything. The only problem is its 1913 and these outlaws are running out of time and options. "I'd like to make one good score and back off," is how Pike says it, to which Borgnine's faithful buddy Dutch exclaims: "Back off to what?!"

Chasing the bunch, and offering the viewer the film's one sympathetic character, is Robert Ryan as Deke Thornton, a former partner of Pike's who doesn't want to go back to jail and for whom killing the bunch is the one unpleasant means of securing his freedom. Ryan, who died in 1973, is probably not as recognizable as the other leads today, but he lends a sad, elegiac presence to his on-screen moments that give the film much of its grace and warmth.

The final star is director Sam Peckinpah, who made a truly revolutionary film that not only pushed the art of film forward but holds up today as a cinematic experience. Time has been kind to this film in a way it hasn't to other ground-breaking auteur moments from the same era, like "MASH" and "Easy Rider." When "The Wild Bunch" came out just as the 1960s were ending, people were truly shocked by the violence and cruel characters. Today, of course, such things are so common, and so mindlessly celebrated, that we find ourselves admiring what Peckinpah does for the surprisingly subtle and restrained way he goes about presenting us with mayhem and carnage, and his refusal to glorify it, however exciting and entertaining the overall package.

Surprisingly for a director who had trouble getting work at the time, Peckinpah landed three Oscar winners in the cast, and a fourth, Ben Johnson, who'd win his a couple of years later. Obviously, the acting is strong, each player investing his spare lines with the right degree of space and spirit, but it's probably worked even better that the movie game in 1969 was in the process of passing the fuddy-duddy likes of Holden, Borgnine, and Edmond O'Brien behind. This makes them very believable as a group of hard-nosed has-beens. In that light, it's kind of cool how hip this film so quickly became when it was released.

It's such a good film it's easy to overlook minor weaknesses. There's a nice bit of symbolism in the beginning, now famous, where the gang rides past a group of children tormenting scorpions and ants, but the point, once made, is beaten into the ground. There are some bits of convenience that stick out, like when a gunned-down outlaw rises and mows down his attackers with a few too-precise shotgun blasts. The general dislikeability of just about everything and everybody does feel a bit of a weight after a couple of viewings.

But what's great is just awesome, especially that opening sequence and the final showdown at Bloody Porch. Such terrific punch-drunk ambiance, it's almost a shame to watch it sober. The feeling of a new era coming upon us, which we see in everything from the doughboy uniforms at the outset to the car General Mapache rides around in, is redoubled by the glorious splendor, even clarity of this picture. Is it too much to praise a movie for the quality of the film stock itself? This is a paradox film, one about obsolescence and growing old that remains startling new-looking and fresh 35 years on.