Film is an art form that involves the work of teams of people: producers, directors, writers, crew, and actors. As a result, virtually no film is perfect. That is particularly the case when directors like Sam Peckinpah are at odds with studio heads like MGM’s James Aubrey. Aubrey didn’t give Peckinpah anywhere near the resources he requested, partly because his attention was turned to completing the MGM Grand Hotel in Las Vegas.
And yet Pat Garrett and Billy the Kid (PG&BK) is a wonderful film. It is certainly a violent one: Martine left the theater at the Autry Center about a half hour into the film. There is a lot of swearing, a number of characters die bloody deaths; and yet … there are scenes of such beauty that one rarely encounters. I am thinking particularly when Slim Pickens as Sheriff Baker is gut-shot, and his wife, played by the splendid Katy Jurado, throws away her rifle and follows him to the side of a pond where he has gone to die. In the background, the lovely song “Knockin’ on Heaven’s Door” is playing.
The sound track is by none other than Bob Dylan, who wrote and performed all the music—and who also had a minor part in the cast, playing the part of Alias. (It is quite evident that Dylan never acted before, but the film is great enough to encompass a host of minor flaws.)
PG&BK plays with the whole Billy the Kid legend. James Coburn as Pat Garrett is the unwitting tool of the Santa Fe politicians, led by General Lew Wallace, author of the novel Ben Hur. In the past, Billy the Kid (Kris Kristofferson) had been a lawman, and Pat Garrett the outlaw. Now the roles have been reversed.
In June, Martine and I visited the town of Lincoln, New Mexico. Pat Garrett was the sheriff of Lincoln County. Peckinpah did a wonderful job of recreating the courthouse room where Billy was held prisoner and guarded by deputies J. W. Bell and Bob Olinger, both of whom were shot during his escape. In the photo above, Martine is obscuring with her left shoulder a bullet hole which Billy may have created when he shot his way out of captivity.
There is a strange quality to PG&BK. It seems as if Billy and Pat spend most of the film avoiding each other. Only at the end does Pat seem to feel pushed to catch up with his old pal Billy at Fort Sumner and kill him. Even there, there is a certain delicacy on his part as he waits for Billy to finish making love to Maria (played by Kristofferson’s wife, Rita Coolidge) before making his presence known and killing him.
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