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Pat Garrett and Billy the Kid (Two-Disc Special Edition)
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Purchase options and add-ons
Genre | Westerns |
Format | Multiple Formats, Subtitled, Color, Closed-captioned, Special Edition, NTSC, Widescreen |
Contributor | Richard Jaeckel, Katy Jurado, Bob Dylan, James Coburn, Gordon Carroll, Kris Kristofferson, Sam Peckinpah, Rita Coolidge, Matt Clark, Jason Robards, Chill Wills, Rudolph Wurlitzer See more |
Language | English, French |
Runtime | 1 hour and 55 minutes |
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Product Description
Product Description
Pat Garrett & Billy the Kid: Special Edition (Dbl DVD)
Amazon.com
Pat Garrett & Billy the Kid may be the most beautiful and ambitious film that Sam Peckinpah ever made. The time is 1881. Powerful interests want New Mexico tamed for their brand of progress, and Sheriff Pat Garrett (James Coburn) is commissioned to rid the territory of his old gunfighting comrades. He serves fair notice to William Bonney--Billy the Kid (Kris Kristofferson)--and his Fort Sumter cronies, but it's not in their nature, or his, to go quietly. Peckinpah's theme, more than ever, is the closing of the frontier and the nature of the loss that that entails. But this time his vision takes him beyond genre convention, beyond history and legend, to the bleeding heart of myth--and surely of himself.
This is one strange and original movie. In 1973 most American reviewers responded by panning it and deriding its director, whom they saw as having betrayed the promise of Ride the High Country, been swept up in his own cult of violence, and become incoherent as a storyteller. Coherence wasn't helped by MGM's cutting at least a quarter-of-an-hour out of the finished film and removing a bitter, retrospective prelude. Subsequent releases have restored a lot of material, and now there's more widespread appreciation of the depth and power of Peckinpah's achievement.
The cast, teeming with fine character actors, is extraordinary, making the gallery of frontier denizens vivid and resonant. Coburn's Garrett, a man who comes to loathe himself for his mission yet cannot abandon it, is the high-water mark of the actor's career. L.Q. Jones, Luke Askew, Harry Dean Stanton, Jack Elam, and Richard Bright create indelible moments, and Slim Pickens becomes the center of an unforgettably moving scene. The presence of Kristofferson (just starting out as an actor) and Bob Dylan (whose enigmatic role is nearly wordless) nudges us toward recognizing Old West outlawry as an early form of rock stardom--flesh-and-blood gods for a primitive society to feed on. --Richard T. Jameson
Product details
- Aspect Ratio : 2.40:1
- Is Discontinued By Manufacturer : No
- MPAA rating : R (Restricted)
- Product Dimensions : 7.5 x 0.7 x 5.4 inches; 2.88 ounces
- Item model number : 2210218
- Director : Sam Peckinpah
- Media Format : Multiple Formats, Subtitled, Color, Closed-captioned, Special Edition, NTSC, Widescreen
- Run time : 1 hour and 55 minutes
- Release date : May 23, 2006
- Actors : James Coburn, Matt Clark, Kris Kristofferson, Rita Coolidge, Bob Dylan
- Subtitles: : English, Spanish, French
- Producers : Gordon Carroll
- Language : English (Dolby Digital 1.0), Unqualified
- Studio : WarnerBrothers
- ASIN : B000BT96DC
- Writers : Rudolph Wurlitzer
- Number of discs : 2
- Best Sellers Rank: #28,037 in Movies & TV (See Top 100 in Movies & TV)
- #520 in Westerns (Movies & TV)
- Customer Reviews:
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First, the Turner cut (mislabeled "director's cut") seemed to be merely a workprint Peckinpah had assembled at one point but was missing several sequences (including the scene with Garrett's wife), seemingly cut out to include in the television print. I say SEVERAL scenes -- no one, not even the experts (e.g., Seydor, Weddle, Simmons et al) mention the other omitted scenes, not even in their respective studies. One is a short sequence with Billy bringing a blanket to Maria and then wrestling with the kids (as it cuts right into the chickens continuing the kids' movements). It is in NO print of the film released (beyond the early television showing) -- but I do still have a (poorly dubbed) copy of that scene. It must still exist someplace. There are other minor tiny sequences (Poe walking down the hall, etc.) that are still missing from these two versions.
My second point, the newly restored 2005 version has an UNFORGIVABLE editing blunder: a wrong shot is inserted when R.G. Armstrong cocks his gun --!!! What happened??? Some editor obviously tripped up and messed up the shot sequence. This totally destroys this great scene which is so electrifying with Armstrong's dialogue and the shocking cocking of his gun. This NEEDS to be fixed and a newly mastered DVD should replace this edition! Why doesn't anyone else seem to notice this incompetent blunder? And who's responsible for this? I'd love to hear Seydor or another Peckinpah expert respond to this!
Also, I believe some of the choices the experts made in reediting the film in the 2005 version (which seems to favor the theatrical print over the "Turner" cut) is really debatable. I would tend to favor including some of what they omitted (like Dub Taylor's sequences) even though they play a little clumsy -- after all, they still reflect elements of Peckinpah's conception. I don't like second-guessing what he "might have" cut out later. And, although I somewhat like the ending to the "2005" version (with the kid throwing stones at Garrett and ending on that shot), that is, in my opinion, an act of all-too-much "rethinking" the film by others instead of respecting Peckinpah's own vision that I can't help but think is reflected more accurately in the return to the framing story and Garrett's dying (as in the Turner print). Even if perhaps "less polished", it does seem very much like Peckinpah. It's obviously what he wanted!
So it's hard not to come to the conclusion that neither version is completely satisfactory, but of the two the Turner cut is far superior (and, arguably, the only valid cut). To me perhaps the ideal version would be to try to include all of the shot footage in Turner's version, but to insert the Garrett-Wife scene AND the Billy-bringing-Maria-the-blanket sequences in their proper places (as well as the long prostitute sequence including the Ruthie Lee beginning which is an important sequence). I would also honor Peckinpah's own adamant decision to leave "Knocking on Heaven's Door" OUT of the Baker death scene as he was not ambiguous about his wishes here. (Who cares if the experts like the song?) If I were still teaching the Peckinpah class that would be the version I would prefer to screen for the attendees.
All in all, it must be said, however, that this motion picture, in any version, is one of Peckinpah's greatest triumphs and a masterpiece (albeit truncated). It deserves a wide audience and a future recognition of it as a brilliant classic western for the ages.
I HAVE DELETED HERE A PREVIOUS POSTSCRIPT TO REPLACE IT WITH THE FOLLOWING...
AN IMPORTANT ADDENDUM ADDED ON 5/26/2014:
Paul Seydor is not just a brilliant Peckinpah scholar and writer, he is also a wonderful, generous man. I finally managed to fulfill a dream of mine a few days ago and discuss in depth PG&BTK with him, and the different scenes and versions. Now I realize how much myth and incorrect information has been inadvertently (and sometimes mindlessly) circulated for years. In my classes and online I have always detailed what I believed to be the truth, with a conscientious exactitude, but from the moment of the film's release so much nonsense has been propagated. And a lot of it seems to have been the fault of Peckinpah himself.
One thing I learned from Paul was that many mistakes were made in the editing and sound of the making of the 2005 version after it had left his hands, and one of them was the editing blunder (when R.G. Armstrong is cocking his gun), an inacceptable gaff that I have been, and am still, so upset about -- and justly, I might add.
Because of the bungles and sloppiness the 2005 version displays (such as that sequence), I remain not happy with the 2005 version and still prefer the Turner cut (with the caveat that it needs the Wife and the Ruthie Lee sequences), but now I am confident that every decision Paul Seydor made in forming the 2005 version had a valid reason for it, and was made not only with a respectful restraint, but with wisdom gained from his unsurpassed experience.
Moreover, I am happier still because I know now that he proved to be the erudite, intelligent Peckinpavian expert I had always considered him to be.
My dialogue on this film from now on will be drastically different, and gladly so -- and I eagerly await his upcoming book to garner even more insight into the entire Pat Garrett and Billy the Kid experience.
No matter though, Pat Garrett and Billy the Kid, although not for all tastes, is a sadly overlooked near-classic in desperate need of an audience.
Firstly the score by Bob Dylan (I'll say nothing of his poor excuse for a screen performance), is mythic, romantic, pensive and sublime. It really represents some of his best instrumental work. Coupled with Peckinpah's uncanny sense of staging, the music paints a complete image of a time that never was.
The cinematography looks like a classic painting brought to life. Filled with autumnal colors and plenty of magic hour sunsets washing across the scene, this film is breathtakingly beautiful to look at. Several frames could stand on their own as photographic works of art.
Peckinpah always knew how to stage a scene. His use of the actor's face and sense of casting works miracles here. Taking virtually every surviving Western character actor, Peckinpah lovingly frames them against the dying light of day. Slim Pickens, Chill Willis, Harry Dean Stanton, Luke Askew and Jack Elam all have glorious road maps that speak volumes. Through economy (it really is suprising, considering his reputation, how tastefull, whimsical, romantic and sentimental Peckinpah was!) of movement and gesture, "Bloody Sam" brings Mount Rushmore to life.
The film unspools at a leisurely pace (and in some ways, that is a kind anaylisis) and many scenes fail to fully develop, but for those souls who enjoy texture and mood for their own sake as well as enjoying a rich western mythic dream, Pat Garrett and Billy The Kid is well worth your time.
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Absolut empfehlenswert;eine spannende und informative Sache :-)
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