Directed by:
Sam PeckinpahCinematography:
Lucien BallardComposer:
Jerry FieldingCast:
William Holden, Ernest Borgnine, Robert Ryan, Edmond O'Brien, Warren Oates, Ben Johnson, Alfonso Arau, Strother Martin, L.Q. Jones, Albert Dekker, Bo Hopkins (more)VOD (1)
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Outlaws on the Mexican-U.S. frontier face the march of progress, the Mexican army and a gang of bounty hunters led by a former member while they plan a robbery of a U.S. army train. No one is innocent in this gritty tale of desperation against changing times. (official distributor synopsis)
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Reviews (9)
A bloody masterpiece with several powerful scenes. In my opinion, stealing the weapons from the train is slightly better than simply a destructive finale. The setting, shortly before the outbreak of the world war, gives it the necessary feeling of the end of the Wild West as we know it, and the beginning of a new era.
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It's a good western, no question about it. It's incredibly bloody, incredibly action-packed, and incredibly gritty, but I simply found that I prefer Sergio Leone and his approach to the Western genre. The Italian is more American, more emotional, and more Western than the Americans themselves. Here, a large part of it is also influenced by the Mexican setting, where much of the film takes place. But as I say, it's a great Western, I just didn't connect with it as much as Once Upon a Time in the West.
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By western standards, a solidly brutal film whose final machine-gun massacre in Aqua Verde is one of the most memorable scenes in the history of cinema. Sam Peckinpah just likes violence, The Wild Bunch doesn't look shabby in that respect and has a very realistic edge to it. This is also true of many scenes in which the horses in particular must have had a lot of fun (I would single out the slow-motion shots rolling down a sand dune and falling from a mined bridge into a river, which take on an almost bizarrely aesthetic impression). The production design with its impressive period Mexican realism with dirty hirsute locals is downright incredible. Women have no place in Peckinpah's harsh world of rough men, they only play the minor role of cheerleaders or treacherous bitches. Last but not least, we must mention William Holden (Sunset Boulevard), his charismatic performance brought back memories of his heyday in the 1950s.
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It is a bit paradoxical that the only film in Sam Peckinpah's filmography that I have a major problem with is the one that definitively captured the attention of film critics and audience interest. The Wild Bunch once fascinated people with its bloody violence (according to comments on FilmBooster, it still captivates many today, even though the standards have shifted and we are much more desensitized). Journalists tended to consider Peckinpah's film an artistic reflection of the Vietnam War or the rise of violent crime in American cities. Peckinpah, however, rejected one of the important genre rules. A classic western usually works with polarized black-and-white characters, where the positive hero faces villains. In The Wild Bunch, you will find exclusively more or less dirty characters, mostly driven by base motives. The director justified the behavior of his characters with instincts and animality, but this explanation lacks logic. Instincts have their own laws, and they function based on the need for defense, reproduction, acquiring food, and so on. The outbursts of violence in The Wild Bunch defy logical explanation. It is not about the film hero knowing less than the viewer and having only a fraction of the time for crucial decisions. The aggression in the film is actually built on effect, and the characters' decision-making is contrary to their interests and often even natural instincts. At the same time, I was disturbed by the use of humorous relieving elements. The film is strangely inconsistent in its pace, mood, and expressive means. On the other hand, Peckinpah is undoubtedly strong in his visual style with the slow motion technique and careful editing. Moreover, he utilizes the traditional advantages of westerns, expertly enchanting with panoramic shots of the beautiful and wild landscapes of the American Southwest. But sadly, this one won't be getting more than 2 stars from me. Overall impression: 45%.
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A solid ride, whose the moral values and strength of friendship inspired of some of the creators of the contemporary film industry (John Woo, Michael Mann). Sam Peckinpah's fondness for blood and violence is very evident, especially in the action scenes, which are excellently shot, unusually clear and realistic, though at times the too hectic editing can be bothersome, but otherwise, more or less satisfaction. The actors deliver exactly what is needed: rough faces, tough gestures, and decisive actions. The central duo forms a perfect example of enemies. It is hard to distinguish between good and evil, which plays only to the advantage of the film.
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