THE WILD BUNCH (1969)
(2008 Bluray ‘Director’s Cut’ version)
Sam
Peckinpah emerged from the world of TV western series directing to carve a
career that made him a controversial but unique talent in film. He would become
an identifiable ‘brand’ in much the same way as Hitchcock; as famous as his
actors for his particular style. His films often examined the same themes
repeatedly, an unashamedly masculine world of bonding and a code of honour often
defined by violence that is not only a solution but the true essence of a man’s
fulfilment. There was a lot more depth and humanity to his work though than
that narrow reading permits. Peckinpah would sadly find that later on his
recognisable style would be as much a limitation as a blessing in his career,
and this would take a disastrous toll on his behaviour and professionalism in
his decline.
Sam
Peckinpah’s movie directing career almost ended before it had properly begun.
He made his feature film debut in 1961 with THE DEADLY COMPANIONS and then the
highly-regarded RIDE THE HIGH COUNTRY, but the Charlton Heston/Richard Harris
historical epic MAJOR DUNDEE (1965) was beyond him in its grandiose Hollywood
scale. It almost scuppered career. His drinking and erratic behaviour (which
hinted at the storm to come) concerned Columbia heads so much that they cut
short the filming schedule. Heston, who initially had a very fractious
relationship with Peckinpah, soon took to defending him and gave up his salary
to enable the beleaguered young director to finish. The final film was a
disaster and has since appeared in multiple versions. Peckinpah went from this
to being fired shortly after starting work on THE CINCINATTI KID; producer
Martin Ransohoff thought he was
‘vulgarising the picture’ with such
creative choices as shooting it in black and white.
It took
three years before another studio would give him a chance, and this came with
THE WILD BUNCH through Warner Brothers in 1968. Peckinpah co-wrote the
screenplay with Walon Green. Simply put, it concerns a group of hard-drinking,
whoring outlaws hitting their retirement and still pulling their final scores. They
are led by Pike (William Holden), along with Dutch (Ernest Borgnine), Warren
Oates, Ben Johnson and Jamie Sanchez as Angel – and Edmund O’Brien as grizzled
old man Sykes. After a bloody and failed robbery in Texas, they venture across
the border into Mexico at the time of the Mexican Revolution in 1913. When
Angel sees his lover with General Mapache of the Mexican federal Army, he
becomes enraged and shoots her dead. Pike
mollifies the General by offering to rob a train shipment of rifles in return
for gold coins. Meanwhile, they are being pursued by Deke (Robert Ryan), Pike’s
ex-partner, with a team of bounty hunters. Fearing a double-cross, Pike parcels
out the rifle crates in multiple transactions. He gives Mapache a Howitzer in
good faith. When Mapache discovers Angel kept a rifle crate for himself to use
with revolutionaries against him, he captures and tortures Angel. Dutch escapes
back to Pike and his men. Pike attempts to bargain for Angel with no luck. The
turning point comes when the Wild Bunch decide to go in and rescue Angel,
fatally risking their lives in a climactic machine-gun blood-bath for one of
their own in a new understanding of conscience and loyalty. After the resultant
carnage. Deke rides in and surveys the human wreckage. With a resigned smile, he
agrees to take up new adventures with Sykes…
It’s a shame
that MAJOR DUNDEE wasn’t Peckinpah’s second Hollywood film; the making of THE
WILD BUNCH established real confidence on a larger scale and a definite
statement of themes in his work that could have enabled that film to have been
handled more surely. Peckinpah was a stern disciplinarian on-set this time
around. One day, he was exasperated by the unprofessionalism of the outlaw
group when he discovered none of them had learned their lines before the day,
figuring they’d have time in between set-ups to do so. He slowly and calmly
decreed that since he’s hired them as ‘ack-torrs’
he was giving them twenty minutes to go and off memorise their dialogue.
Anyone who did not fulfil this “would be
replaced”. No-one dared call his bluff. Wisely so, as on future films he’d
have one of his assistants permanently equipped with bus tickets to dish out,
with the instant instruction that the offender was fired and being sent back to
Hollywood. If he could have applied the same rigorous discipline to himself in
later years, the director would have enjoyed a longer and happier life.
This is not
to say that Peckinpah was rigid in his creativity. Usually, he would not decide
what to shoot until the day, when he would discuss the scenes with his director
of photographer, the great Lucien Ballard. The iconic long walk of the four
outlaws as they resolve to go to Mapache’s compound for the final shoot-out was
originally just referenced in three lines of the text. On the hoof, Peckinpah demonstrated
a genius for improvisation, carving a visual path for them to their fate which
his team had to hastily to build in extras and atmosphere, to create a
highly-effective and boldly dramatic lead-in,
Filming of
THE WILD BUNCH began in Mexico in March 1968 in a town that was so antiquated
that the production was able to pay the townsfolk to delay by six months their
long-overdue electric power supply. Filming ran smoothly, even in the complex
stunt that involved blowing up the bridge with Deke’s men upon it. Despite ensuring it was a balsa-wood
structure and that that they’d waited patiently until the water level below was
high enough to cushion stuntmen and horses, when it came time to shoot there
were strong winds that created an unexpected current in the river. However,
the single ‘take’ was perfect, prompting
effects supervisor Bud Hulburd to observe with justified pride: “ I’ve just had the opportunity hang a
Rembrandt. It’ll probably never happen to me again”.
Peckinpah
invested whole-heartedly in THE WILD BUNCH. He related to the outlaw gang,
feeling a great kinship with them. The recurring theme of the ‘man out of time’
(depicted visually in the film by the advent of the motor-car) who is
hard-living and has a strong moral code of loyalty was one that chimed with him
and would echo in his later films. In fact, his mission statement was first
summed up beautifully in RIDE THE HIGH COUNTRY by Joel McCrea: “All I want is to enter my house justified”.
In Peckinpah’s world, a man must live a life that fully represents the best
of his nature. Early in the story, Pike is stoic and overly harsh, such as when
he orders Angel to come to terms with the loss of his woman: “Either you learn to live with it – or we
leave you”. He sternly dictates to his men “When you side with a man, you stick with him – and if you can’t do
that you’re like some animal!” When the gang leave Angel’s village, the
ceremonial leaving scene (also spur-of-the-moment) filled with a lovely song by
the villagers allows us to peer into the souls of these men as the light of
humanity warms them a little more than before. By the time Pike resolves
climactically to go back with his men and rescue Angel, imperilling their own
lives, it is a noble sacrifice that was all too long coming. He knows this; that’s
why he welcomes the chance to possibly die acting on his conscience. His men
share this purposeful kamikaze bravery. As the Bunch consider their chance to
depart from Mapache’s camp unscathed after Angel is murdered by the General, Dutch
giggles, his eyes twinkling with delight at the sudden deliriously crazy notion
of going full-throttle to death, taking as many men as possible with them. This
is violence in support of a higher cause, a selfless act of redemption here, all
the more potent and primal for being willingly embraced.
The intense
violence in Peckinpah’s films has always been a difficult subject for many to
resolve, but I see no problem in morally justifying his methods. Critics condemned
his films for portraying blood-shed irresponsibly as suggesting it’s the only
way a man should solve his conflicts and for him to truly reflect his
masculinity. Firstly, as writer/director he has never sought to de-humanise his
characters into being blood-lustful kill crazy monsters. He is careful to build
causes and a moral code behind these awful actions – as well as repercussions
for growth afterwards. As for the frequent accusations of going too far in
on-screen carnage, is it not more irresponsible
to sanitise violent actions, to pull the punch, to hide the result of a
bullet-hit? Much as we detest violent resolutions to problems, since it does go
on, by hiding the consequences we lie to ourselves and those old enough to be
allowed to see them. That is the real ‘crime’. THE WILD BUNCH doesn’t finish
with the battlefield deaths as though it’s a rousing air-punching high-point to
be savoured. Look at the pacing and tone of the closing scene that follows.
Robert Ryan is shown in lengthy quiet close-ups, allowing the audience time to
de-compress from the intense brutality of what’s just happened. We may read regret
or resignation into his wonderfully characterful lined road-map of a face.
A further
defence of the violence that shows how out-of-touch its critics are is the sad
reflection of what happened when Peckinpah left such controversial material out of his films, such as in his later
THE BALLAD OF CABLE HOGUE and JUNIOR BONNER. He complained:
I am always criticised for putting violence in my films, but when I leave it out nobody bothers to see them”.
I am always criticised for putting violence in my films, but when I leave it out nobody bothers to see them”.
This is not
to soft-soap the cumulative impact that the body-count and blood-splatter has.
Indeed, when THE WILD BUNCH was re-submitted to the American MPAA board in the
mid-1990s, it still received an ‘X’ rating, reserved only for pornography and
extremely violent content. This would have been disastrous had theat been the
film’s first release as many publicity outlets like newspapers refuse to carry
advertising for ‘X’ rated films.
As we will
see in the rest of this blog series, Sam Peckinpah had much more to offer both
within the exploration of controversial material and without it, before his
private weaknesses got the better of him. The candle still had a lot more
bright burning to do…
No comments:
Post a Comment