Sam Peckinpah's The wild bunch 9780521584333, 9780521586061, 9781139086004

Table of contents :
Frontmatter (page i)
List of Contributors (page xi)
Introduction: Sam Peckinpah, Savage Poet of American Cinema (STEPHEN PRINCE, page 1)
1 The Wild Bunch: The Screenplay (PAUL SEYDOR, page 37)
2 Peckinpah the Radical: The Politics of The Wild Bunch (CHRISTOPHER SHARRETT, page 79)
3 "Back Off to What?" Enclosure, Violence, and Capitalism in Sam Peckinpah's The Wild Bunch (MICHAEL BLISS, page 105)
4 Ballistic Balletics: Styles of Violent Representation in The Wild Bunch (MICHAEL BLISS, page 130)
5 Re-Visioning the Western: Code, Myth, and Genre in Peckinpah's The Wild bunch (WHEELER WINSTON DIXON, page 155)
6 The Wild Bunch: Innovation and Retreat (DEVIN McKINNEY, page 175)
Reviews and Commentary (page 201)
Filmography (page 213)
Select Bibliography (page 221)
Index (page 224)

Citation preview

Sam Peckinpah’s The Wild Bunch Sam Peckinpah’s The Wild Bunch is one of the most influential films in American cinema. The intensity of its violence was unprecedented, while the director’s use of multiple cameras, montage

~ editing, and slow motion quickly became the normative style for rendering screen violence. Demonstrating to filmmakers the power of irony as a natrative voice and its effectiveness as a tool for exploring and portraying brutality, The Wild Bunch fundamentally changed the Western, moving it into a more brutal and psychopathic territory than it had ever inhabited before. This volume includes freshly commissioned essays by several leading scholars of Peckinpah’s work. Examining the film’s production history from script to screen, its rich and ambivalent vision of American society, and its relationship to the western genre, among other top-

ics, it provides a definitive reinterpretation of an enduring film classic.

Stephen Prince is Associate Professor of Communication Studies at

Virginia Polytechnic Institute and State University. He is the author of Savage Cinema: Sam Peckinpah and the Rise of Ultra-Violent Movies; Movies and Meaning: An Introduction to Film; and Visions of Empire: Political Imagery in Contemporary American Film.

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CAMBRIDGE FILM HANDBOOKS SERIES

General Editor —

Andrew Horton, University of Oklahoma Each CAMBRIDGE FILM HANDBOOK is intended to focus on a single

film from a variety of theoretical, critical, and contextual perspectives. This “prism” approach is designed to give students and

general readers valuable background and insight into the cinematic, artistic, cultural, and sociopolitical importance of individual films by including essays by leading film scholars and critics.

Furthermore, these handbooks, by their very nature, are meant to help the reader better grasp the nature of the critical and theoretical discourse on cinema as an art form, as a visual medium, and as a cultural product. Filmographies and selected bibliographies are added to help the reader go further on his or her own exploration of the film under consideration.

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Sam Peckinpah’s |

The Wild Bunch

_ Edited by

Stephen Prince

| iy|) UNIVERSITY CAMBRIDGE PRESS

CAMBRIDGE UNIVERSITY PRESS Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, Sdo Paulo

Cambridge University Press The Edinburgh Building, Cambridge CB2 2RU, UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/978052 1584333

© Cambridge University Press 1999

This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements,

no reproduction of any part may take place without , the written permission of Cambridge University Press.

First published 1999

A catalogue record for this publication is available from the British Library Library of Congress Cataloguing in Publication data Sam Peckinpah’s The wild bunch / edited by Stephen Prince. p- em (Cambridge film handbook series)

Filmography: p. ,

Includes bibliographical references and index. ISBN 0-521-58433-7 (hardcover). ISBN 0-521-58606-2 (pbk.)

1. Wild bunch (Motion picture) I. Prince, Stephen,1955_. Il. Series. PN1997.W53613S26 1998

791.43°72 de21 98-25117 CIP

ISBN-13 978-0-521-58433-3 hardback ISBN-10 0-521-58433-7 hardback ISBN-13 978-0-521-58606-1 paperback ISBN-10 0-521-58606-2 paperback

Transferred to digital printing 2006 | All illustrations courtesy Jerry Ohlinger’s.

For My Parents and Tami and Kim

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Contents

List of Contributors page xi Introduction: Sam Peckinpah, ,

Savage Poet of American Cinema 1 _ STEPHEN PRINCE

| | The Wild Bunch: The Screenplay 37 PAUL SEYDOR

# Peckinpah the Radical:The Politics

of The Wild Bunch | 79

CHRISTOPHER SHARRETT

3 “Back Off to What?” Enclosure, Violence, and Capitalism in Sam Peckinpah’s

The Wild Bunch 105

MICHAEL BLISS

4. Ballistic Balletics: Styles of Violent Representation in The Wild Bunch and After 130 DAVID A. COOK

2 Re-Visioning the Western: Code, Myth,

| and Genre in Peckinpah’s The Wild Bunch 155 WHEELER WINSTON DIXON

, Ix

x CONTENTS The Wild Bunch: Innovation and Retreat 175 DEVIN McKINNEY

Reviews and Commentary 201

Filmography — 213

Index 225 Select Bibliography 221

-Contributors

Michael Bliss, a teacher of English and film at Virginia Polytechnic Institute and State University, is the author of Justified Lives: Morality and Narrative in the Films of Sam Peckinpah, coauthor (with Christina Banks) of What Goes Around Comes Around: The Films of Jonathan Demme, and editor of Doing It Right: The Best Criticism of Sam Peckinpah’s “The Wild Bunch.” Having just completed Dreams Within a Dream: The Films of Peter Weir, Bliss is now cowriting A

Sense of Loss: John Woo, Hong Kong Cinema, and 1997. | David A. Cook directs the Film Studies Program at Emory University. He is the author of A History of Narrative Film, a major text

in its field that is now in its third edition.

Wheeler Winston Dixon is Chair of the Film Studies Program and Professor of English at the University of Nebraska, Lincoln. His

books include The Films of Jean-Luc Godard, It Looks at You: The , Returned Gaze of Cinema, and The Early Film Criticism of Francois Truffaut.

Devin McKinney is a freelance writer living in New York City. He is a frequent contributor to Film Quarterly and is currently writing a novel. xi

xii CONTRIBUTORS Stephen Prince is Associate Professor of Communication Studies at Virginia Polytechnic Institute and State University. He is the author of Savage Cinema: Sam Peckinpah and the Rise of Ultra-Violent Movies, Movies and Meaning: An Introduction to Film, and Visions of Empire: Political Imagery in Contemporary American Film.

Paul Seydor is a film editor who lives in Los Angeles. His recent work includes Tin Cup, Cobb, White Men Can’t Jump, and Turner and Hooch. He is the author of Peckinpah: The Western Films: Reconsideration.

Christopher Sharrett is Associate Professor of Communication at Seton Hall University. He is the editor of Crisis Cinema: The Apocalyptic Idea in Postmodern Narrative Film. His work has appeared in Cineaste, Film Quarterly, Persistence of Vision, Journal of Popular Film

and Television, Millennium, CineAction, and elsewhere. His essays have been anthologized in The Dread of Difference: Gender and the Horror Film, Perspectives on German Cinema, The New American Cinema, and other books. His book Mythologies of Violence in Postmodern Media is forthcoming from Wayne State University Press.

STEPHEN PRINCE

Introduction: Sam Peckinpah, Savage Poet of American Cinema

Running out of space and time in a modernizing West, a band of outlaws led by Pike Bishop (William Holden) rides into the Texas border town of San Rafael to stick up the railroad office. The railroad, however, has hired a passel of bounty hunters to annihilate the Bunch. Led by Pike’s old friend Deke Thornton, the vulturelike bounty hunters ambush the Bunch from the rooftops of the town, killing outlaws and townspeople with indiscriminate glee. Pike escapes, along with Dutch (Ernest Borgnine), Lyle and Tector Gorch (Warren Oates, Ben Johnson), and Angel Jamie Sanchez). They are joined outside town by old Freddie Sykes (Edmond O’Brien), whereupon they discover that the bags of cash they took | from the depot are dummies stuffed with worthless washer rings. Broke, they cross into Mexico, pursued by Thornton and his gang. The Bunch go to work for General Mapache (Emilio Fernandez),

a cruel despot fighting on behalf of a corrupt government and against a popular revolution. After the Bunch steals guns for the general, Mapache seizes and tortures Angel. To avenge Angel, the

- Bunch confronts and kills Mapache, precipitating a sustained slaughter during which the members of the Bunch wipe out most of Mapache’s army and are themselves killed. The survivors, |

2 STEPHEN PRINCE | Freddie Sykes and Deke Thornton, join forces with the peasant revolutionaries. Sam Peckinpah modestly said that with The Wild Bunch he wasn’t trying to make an epic but only to tell a simple story about bad men in changing times. But The Wild Bunch is an epic work, and it has had an epic impact on the American cinema. The scale

and scope of its bloodletting were unprecedented, and Peckinpah’s use of multiple cameras, montage editing, and slow motion quickly became the normative style for rendering screen violence.

The film helped move the Western into a mud-spattered, more brutal, and psychopathic territory, and it showed subsequent filmmakers the power of irony as a narrative voice and its effectiveness as a tool for exploring, and portraying, a brutal screen world. Director Martin Scorsese called the film “savage poetry.”} Part of this savagery lies in Peckinpah’s unflinching depiction of the characters. The outlaws led by Pike Bishop are stone killers, and the film presents them without apology. Pike coldly executes a wounded comrade after the botched holdup in San Rafael that opens the film, and astride his horse, he remorselessly tramples a

woman during the confusion ensuing from the rooftop ambush. In the prelude to this ambush, as the Bunch ride into town, a group of smiling, laughing children look up from their play. But these are not the typical children, icons of sentimentality and innocence, that were so prominent in earlier generations of film. These children are patiently, joyously torturing a scorpion to death. By in-

tercutting this torture with the following action, the shootout in town, Peckinpah encapsulated in striking imagery a vision of brutality and violence unfolding within an implacably cruel world, and he ensured that the depicted violence assumed a metaphysical dimension, as a force observable throughout human life, evident in the behavior of children as in that of adults. Peckinpah, though, went beyond the immediate savagery of

the material to search out the humanity that coexists in the Bunch with their remorseless use of violence. Typically, and in keeping with his other work as a filmmaker, Peckinpah located this redemptive humanity in the experience of psychological an-

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SAVAGE POET OF AMERICAN CINEMA [5

a function of the reduction (probably necessary to preserve narrative economy and efficiency) of her character to what is now es-

| sentially an extra, someone who appears as part of a group but lacks a defined identity. Yolonda’s fate, victim of postproduction, exem-

plifies the trade-offs that are a routine part of film production, especially when the film in question is as complex as this one. Much of the postproduction work on the film involved Peckinpah and Feldman ’s efforts to meet the objections to content of the Motion Picture Association of America’s (MPAA) Code and Rating Administration. The MPAA was (and is) the film industry’s administrative agency charged with helping to regulate movie con-

tent. Accordingly, it is very sensitive to depictions of profanity, | sexuality, and violence. During production of The Wild Bunch, the MPAA retired its old (but recently revised) Production Code, which

had shaped movie content for decades, and instituted a new G—M-R-X ratings system administered by the Code and Rating Administration (CARA). The MPAA’s initial reaction to and evaluation of the script reflected the realities of the revised Production Code during the pre-CARA period when production of the film commenced. Given the existing parameters governing movie content, the MPAA deemed the proposed film, as scripted, to be largely unacceptable. “In its present form this story is so violent and bloody and filled with so many crudities of language that we would hesitate to say that a picture based on this material could be approved under the Production Code.”2° The MPAA added, however, that if the material was toned down, an SMA (Suggested for Mature Audiences) label might be possible. MPAA concerns centered on the script’s abundant profanity and

on several sequences where the bloodletting was considered excessive or unacceptably graphic. These included the action during the opening shoot-out in which a farm boy on a wagon fires a shotgun into Buck’s face, blinding him, after which Lyle Gorch shoots and kills the boy. According to the MPAA, this action “will have to be handled with great care not to be visually sickening.”*1 Other objectionable material cited by the MPAA included Pike’s killing of Buck in the arroyo (deemed “excessively brutal”2”), Mapache

16 STEPHEN PRINCE | cutting Angel’s throat (deemed “unacceptable”23), and the extensive crowd killings during the Aqua Verde massacre (deemed “a blood bath”).24 Despite the MPAA’s concerns, production on the

picture commenced under the revised Production Code. However, by the time the picture was being edited, the Code was gone and the new ratings system was in place. This new system gave filmmakers in the late 1960s greatly expanded creative freedom because the ratings designated certain films, for the first time, as being unsuitable for children. Without the relaxation of censorship policies that the new CARA system represented, Peckinpah could not have released The Wild Bunch with its explicit images of bloodshed. In the negotiations with the MPAA that followed principal photography, none of the episodes to which the MPAA had originally objected, or others (Angel being dragged by the automobile, Lyle

at the machine gun, and Crazy Lee riddled with bullets), were deleted from the film, but they were rendered less graphic through careful editing. The SMA category was now history, and the CARA system gave Peckinpah and his producer enhanced freedom and flexibility in retaining and shaping their graphic screen violence. Of key importance for this film’s remarkable production history, Peckinpah and his editors could cut the film to achieve an R rating rather than to satisfy a (revised) Production Code. With respect to the boy in the wagon who is shot by Lyle, the MPAA objected to the bullet hit and the blood, so editor Lou Lombardo omitted these and caught the boy in mid-fall, well after he has been struck by Lyle’s shot. (Producer Phil Feldman outlined

the necessity for this manner of editing the footage in a letter to Warners executive Ken Hyman, which discussed specific editing solutions to the MPAA’s objections.)*° The editing feels a little jagged here, and the action may even seem a bit confusing. Critics have sometimes contrasted the optical confusions in the film’s opening massacre with the clarity of perspective in the Aqua Verde

shootout and have interpreted this as a stylistic statement about the unity of purpose with which the Bunch is fighting at the end. By contrast, at the beginning of the film, they are a more fractious

SAVAGE POET OF AMERICAN CINEMA 17

group. The most confusing imagery in the opening shoot-out is the action in which the boy in the wagon shoots Buck, but this raggedness arose for very pragmatic reasons rather than for ones of thematic symbolism. The raggedness of the cutting was a function of having to pare back this very fast-moving material to satisfy the MPAA.

With respect to Buck’s killing in the arroyo, this scene was ed-

| ited to play mainly on his back, with very few quick, flash glimpses of his bloody face. Angel’s drag by the automobile was shortened, with fewer close-ups of his ragged body. The editing of Mapache

slitting Angel’s throat deleted a side view of this action and the gush of blood that followed. This alteration enabled producer Feldman to reassure the MPAA that “all that happens is that Mapache completes his stroke over Angel’s throat. There is no spurt of blood,

but merely a show.”2° This is the one revision that has clearly

| dated the film’s violence. By today’s standards, the throat cutting seems somewhat anticlimactic because it is so abbreviated and without evident bloodshed. But the film could not have been released (as an R-rated picture) without this change. In discussing with his director the need to alter the film to minimize its bloodshed, producer Phil Feldman was keenly supportive of Peckinpah’s desire to push the limits of what was acceptable, and he interpreted the MPAA’s objections as proof that their intentions for the film would be successful. Prior to the onset of

principal photography, Feldman sent Peckinpah a copy of the MPAA’s script report and included this assessment: “I am sending you a copy of the MPAA report from Shurlock. I think you can disregard this on the whole. As a matter of fact, I am rather pleased, as Iam sure you are, that he finds it objectionable.”2” At the same time, Feldman urged Peckinpah to assess carefully the extent of the picture’s bloodshed in relation to other prominent and trendsetting films of the period. This would help Peckinpah gauge tol| erance levels for violence in potential viewers of the film. Feldman specifically urged Peckinpah to look at Sergio Leone’s films (A Fistful of Dollars, For a Few Dollars More). “I think it might be good for you to have a comparative basis before you finally decide just how

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48 PAUL SEYDOR in a studio office to begin work on The Diamond Story, a modern-

day action-adventure property set in Africa that was supposed to star Charlton Heston. Whenever Peckinpah acquired The Wild Bunch, the most likely time that he would have thought seriously about revising it is late April or May 1967. There are two reasons for this supposition. Much before that he was too busy at Paramount writing Villa Rides, which he didn’t turn in until almost the last week in April. The other is that it wasn’t until late winter or early spring that Sickner seemed to have had any real money. On 21 December 1966 a letter of agreement was drafted between Sickner and Ryerson giving Peckinpah a 25 percent share of The Wild Bunch, in lieu of money, for rewriting the screenplay and

eventually directing it. Throughout the winter of the following year, Sickner continued negotiating with Peckinpah, whose interest by then had certainly been aroused. But he still doesn’t appear to have done any actual work on the script until Sickner got him some hard money, as opposed to a promised “ownership” of

a property that might never get into production.'© Still pretty strapped for cash from his two-years-plus run of bad luck, he could not afford to work on speculation.!” Once he turned to The Wild Bunch, however, he finished his first revision in two months — entirely possible, even likely, given how furiously he pursued any-

thing in those months that looked as though it might land him a directing stint. How, then, to explain the two versions of the same treatment and a date on one of them that can’t be correct? It is a matter of fact that the undated longer treatment was written by Green much earlier. But Green can’t remember writing the shorter one, which

makes sense: if we recall that by then he had gone off to other projects and lost track of The Wild Bunch altogether, he probably didn’t. If not Green, then who, and why? My guess — with which Green concurs — is that Peckinpah, Sickner, or someone else close

to the project had Green’s treatment condensed, in the process removing Carell’s name, as he no longer owned it, and assigning it a date that would keep the studio from thinking it was a reject

that had been lying around. (This is often done when projects

THE SCREENPLAY 49 considered dead are resurrected; more often than not, the title is also changed.) As for identical dates on the director’s three different copies of the Green screenplay, these were for him private working drafts only, nothing he was ready to submit to a producer or studio. He obviously felt no need to redate them each time he did some work on them. The various drafts dated 16 June are simply stages of a work-in-progress that became the 28 June screenplay. That Peckinpah considered this his first complete revision is evidenced by his unambiguously calling it his “first draft” right on the title page and taking a credit as cowriter (in the second position). 18

_ Despite the work he was supposed to be doing on The Diamond Story, once he started rewriting The Wild Bunch, it consumed him for the remainder of spring and the whole summer. Some time in August, when The Diamond Story looked as if it would fall through

for good and Feldman wondered what they might turn to next, Peckinpah handed him the revised The Wild Bunch and reminded him of Marvin’s continued interest. Feldman liked what he read, liked also the director’s ideas for further changes, and liked most

of all the prospect of Marvin, whose brutal but exciting World War II action picture, The Dirty Dozen, had just recently hit the theaters to spectacular box office. Ken Hyman was likewise enthusiastic, as The Dirty Dozen was his last work as an independent

producer before becoming head of production at Warners. Suddenly, The Wild Bunch was born, studio chief and producer both confident they had a “Western” Dirty Dozen in the making. Little did they know that their director was nurturing a quite different creature, though soon enough he would send Hyman a note that in retrospect contains some portent of how passionate and personal would be his investment: “Of all the projects I have worked on,” Peckinpah declared, “this is the closest to me.”!9

AT The Peckinpah Collection contains several drafts of Wild

Bunch screenplays, some complete, some not, all dated between

50 PAUL SEYDOR June 1967 and May 1968. The last changes of any sort consist of some loose pages of revisions dated 20 May 1968, by which time Peckinpah was almost two months into principal photography (which had begun on 25 March). It would be tedious, misleading,

and far beyond the scope of this essay to note each and every change, revision, and addition by Peckinpah. He did so substantial a dialogue rewrite, for example, that few scenes were left untouched; but to detail every last line or word change is to indulge

in minutiae that would obscure the overall pattern of his changes.*° My task here is to set forth this pattern and chart the major changes by which it is defined. To this end, I have tried to Keep critical commentary as such to a minimum. Readers interested in a full-length analysis that addresses many of the implications of these changes are directed to the chapter on The Wild

, Bunch in my critical study of Peckinpah’s Western films (137-212). “There was nothing elegant, witty, or slick about” the original screenplay, David Weddle has pointed out, and it lacked any “trace of romanticism” (309). This was Walon Green’s intention. “I always liked Westerns,” he has said, but I always felt they were too heroic and too glamorous. I’d read enough to know that Billy the Kid shot people in the back of the head while they were drinking coffee; it had to be lot meaner than that. Plus I knew a lot of ranchers and cowboys, and they were mean. I wrote it, thinking that I would like to see a West-

ern that was as mean and ugly and brutal as the times, and the only nobility in men was their dedication to each other. (Segaloff, p. 143)

This was Peckinpah’s point of departure too. Ever since his television series The Westerner (1960), he had been obsessed with por-

traying cowboys, outlaws, and gunfighters as realistically as he knew how. But he seems to have realized fairly early on that men

who are merely bad don’t make for very interesting characters, | themes, or dramas. So while he retained most of Green’s grit and realism, Peckinpah developed The Wild Bunch in two apparently antithetical directions. In the one, he went down and in, making

THE SCREENPLAY 5 | it intimate and subjective, the characters and their relationships far more emotionally and psychologically compelling. In the other, ©

he moved up and out, enlarging the scale, increasing and inten- | sifying the conflicts, and investing what he liked to call “a simple adventure story” with an almost unprecedented richness, density, and complexity of theme and texture. It was for a while rather fashionable to denigrate Green’s Wild Bunch, but Peckinpah himself always spoke highly of it, saying that it set up and dramatized the story “very well” (Farber, p. 42). Green’s

is an exceptionally accomplished piece of work (astonishingly so

for a first screenplay) that is in fact far closer to the completed film than is the norm for most original screenplays. By any standards it was an excellent start and a protean effort that gave Peck- |

inpah the structure, the plot, the characters, and the canvas he needed to release his imagination to its fullest. Though the director added many scenes, he rarely altered the basic shape of those

by Green that he kept, which was most of them. _ A typical example is the famous scene when Pike’s stirrup breaks. In Green, Sykes’s horse stumbles on some loose stones, sending the group tumbling down a slope; an angry Tector throws a rock at the

old man; the Bunch start to mount back up; Pike’s stirrup breaks, sending him crashing to the ground; he lies there in pain, no one

moving to help him (“he doesn’t expect them to”), the Gorch brothers making “little effort to cover the fact that they enjoy Pike’s misery”; Pike mounts up and tells them where they’re headed; and they all ride off (27). As Peckinpah rewrote and eventually staged it, Tector doesn’t just throw a rock at Sykes, he reaches

for his gun, aiming to kill him; Pike stops him and delivers the famous speech about sticking together; the Gorch brothers’ enjoyment of his misery is no longer silent but openly contemptuous (“How are you going to side with a man when you can’t even get on your horse?”). When Pike climbs back onto his horse, he turns, not saying a word, and rides on ahead alone, the others watching without moving. Peckinpah added virtually all of the dialogue, brought out the barely latent animosities among the group, found a dramatically and psychologically plausible place

52 PAUL SEYDOR

78 ANCIESt-SLOBE- M” The xock is loose and the footing extrencly difficult

as they start down in single file. Sykes is lasf,

he leacs his own horse and a pack aninal.

Suddenl d footing. He falls forward pulling the two horses down with him. Unable

te control his slide he collides with Tectoxr who is in which all the men slide to the bottom of the hill.

next in line. Tector’s fall starts a chain.reaction

Picking up s e to the bottom and land

a-giant cloud of dust, There is a profusion of ce le their feet.

coughing and swearing as the men and animals get’ to )”

FE GROUESSHOT || fe ans swe Tector stands and loeke-nreund—fer Sykes. TECTOR

You damned old idiot!

whe is hte Pale Drew)

Be picke-lp a smekl stone and throws it at-the old man 02.¥- MIC HAI Ns ar fee Boo aX L ke ~ Pars ft uf ' at (hn cr Reag- :

” PES “rns a nf i pros)

Ceo on ave Dita? — Cie be we “— ve wd Ane

whats ths eee oe free 2

, FIGURE 13 film. The most obvious differences in the first half are the character of Crazy Lee, whom Peckinpah created; the flashbacks, also Peckinpah’s, which I'll treat later; and the scene in Angel’s village.*!

Green did not have the Bunch go to the village: Angel goes there alone and hears his father recount Mapache’s raid in a long, nightmarish flashback that actually shows what happened; when Angel asks about his fiancée, Teresa, he is told that she left, willingly,

56 PAUL SEYDOR

| 27.

114 THE MEN ARE SILENT FOR A. LONG MOMENT, then they break into

soft laughter which builds slowly. . LYLE

(after a moment ) He -- He was making plans while me and Tector was regarding the film chiefly as an allegory of the Vietnam incursion,

| certainly pertinent but only a component of the film’s more general ideological investigation. While the directorial innovations of The Wild Bunch have been noted in full, it was not until around the time of Robin Wood's remark that the film is part of the “apocalyptic phase”® of American filmmaking that we see a different disposition toward the politics of this film and a.tendency to see it in terms other than a vague parable about American intervention in Vietnam. When one looks at the restored version of The Wild Bunch, it is difficult not to appreciate what an extraordinarily adversarial work it is, savaging the Western genre and the American civilizing experience it has mediated. Brecht and Bufiuel (much admired by Peckinpah — Bunuel’s Los Olvidados {1951] was a favorite film) shine through more vividly

than Hemingway and Ford, and it was perhaps Peckinpah’s downfall that such an amalgamation should present itself unresolved.

| THE POLITICS OF THE WILD BUNCH 83 Appreciation of the richness of The Wild Bunch has been delayed for some very specific and material reasons. First, the marketing of the film by Warner Bros. was callously indifferent, beginning with the studio’s cutting of the flashbacks concerning Pike’s early life (scenes Peckinpah felt were central to the film) and

its double-billing of the film with ostensibly similar adventure fare produced by Warners such as The Green Berets (1968) and, later, Dirty Harry (1971). Second, the film was coopted in several respects by the hyped Butch Cassidy and the Sundance Kid, a star vehicle for Paul Newman and Robert Redford, which contained (but treated with a light touch) the theme of men with their backs to the wall, an idea often spoofed and trivialized that would sat-

urate the Western as the genre played itself out in the 1960s. Per- | haps most important, The Wild Bunch could not hold its own against films embraced by the counterculture and recognized as more or less embodying progressive sentiments, such as Bonnie and Clyde (1967), Zabriskie Point (1970), and Easy Rider (1969). It did not seem immediately apparent to audiences of the late 1960s’ counterculture that The Wild Bunch was a film firmly situated in the crises of that decade, and concerned with making some sweeping statements about America and the civilizing process that produced the Vietnam adventure. The unusally graphic (at that date)

violence of Peckinpah’s film, the presence of such Hollywood mainstays as William Holden, and the very fact that it was a West-

ern excluded it at first both from commercial success (its road show presentation never happened, and it was rereleased twice before it achieved an audience) and from appraisal as ideologically provocative. Even a cursory review, informed by the critical practice of recent years, reveals how extraordinarily bold are the

gestures of The Wild Bunch. , PECKINPAH PERSONAL AND POLITICAL

In his comments on the film in his book Horizons West, Jim Kitses remarks, “The Wild Bunch is America.”” The implica-

tions of this statement become clear as we understand how in-

terwoven the film’s critique of the frontier experience is with its )

84 CHRISTOPHER SHARRETT

insights into the construction of male personality by American culture. The film begins this examination by the critical approach it takes to the general theme of U.S. adventurism in Mexico, a theme popular in the postwar Western as American interventionism escalated internationally. Films such as Vera Cruz (1953) or, later, The Magnificent Seven (1960) and The Professionals (1966)

depicted Mexico as an idyllic landscape or arid backdrop to test the mettle of alienated men in disfavor in their own land (an early scene of The Searchers [1956] contains this idea, with Ethan Edwards

giving his niece a Mexican military decoration). Except for those films that use the Mexican Revolution for a meditation on revolutionary change (Viva Zapata, 1952) or for broader statements about warfare and the male group (They Came to Cordura, 1959), the attitude of the postwar Western toward Mexico recapitulates notions of the Other from American melodrama. The Mexican, like the Indian, is alternately demonized and romanticized, with death being the “right place to go” (an important reference point for all this is the nineteenth-century play Metamora). The landscape of Mexico is an Other as it becomes the inverse of a Conradian jungle: it is a hellish desert where machismo is proven through confrontations with crazed natives John Wayne’s The Alamo [1960] is archetypal). In The Wild Bunch, the historical specificity of rev-

olutionary Mexico is understood precisely within the context of assumptions about imperialism, seen first in the construction of the male subject, and as a conjunction of Self and Other as the plight of Mexico is related to the self-image of the United States, and the personalities of Peckinpah’s Hispanics have correlates in his Anglos. It has been suggested by various critics that The Wild Bunch is finally about Angel/Jaime Sanchez, the young idealist whose uto-

pian dreams and revolutionary fervor are reclaimed when the Bunch make their last stand at Aqua Verde. Pike/William Holden sees in Angel his lost youth and a moral code the Bunch have long since scrapped. But this popular interpretation overlooks the film’s sense that if such a code ever existed, it was morally bankrupt at its inception. Angel is a revolutionary, but he is also a belligerent

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Angel’s capture and torture reawaken Pike’s lost sense of h community.

misogynist; b V relating him to the y Oung Pik th d d ®*4%

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; ae ] m n m i i O characters stand for the norm Peckin I 1 :® ; ® ; e @ p Nn men. Angel S TO

an a O l e are merel y representati V f th Id @

Im e prerogati V e to murder her: the

ESR ec ete OSES RO SS CCS RR ; ,aFee, re. #chateiaraeeaemean @ ; 8° @ pa rapie Oo mer-

6 e € ;e ; F) a eTld a con ictca represented in Pi k ’

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e agon y O V eT the ublic se the resourceful O V V i V SUS e insecure blunderin and V i i @

ceal OT rationali e th h f | . * @ ? ; . i 6 & @ 6 4 ; An e Ip O F1Ke 1S sign icant since Angel’s capture e

and persecution Tea y V aken Pike’s an I h V I l t f mi y nN m *

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86 CHRISTOPHER SHARRETT vision is clearly preferable to the hell represented by Harrigan and

Mapache (technocracy, militarism, imperialism), it is not unrelated to the evils of the world. Pike has consistently lived a lie, one

that Angel buys into given his unquestioning allegiance to Pike (“I go with you, jefe”). His admiration of Pike (the charismatic male who remains undistorted in the eyes of the young) precludes Angel’s stated beliefs in democracy and community, in the solidarity he supports to the point of sacrificing his life. It is sensible that Peckinpah should show Mapache standing amid the gunfire during Pancho Villa’s assault on the federales; Mapache’s bravery

is reducible here to an absurdly inflated self-image, machismo rampant and ridiculous. Mapache is separated only a little from Pike and Angel by his authoritarianism, but Peckinpah indeed makes the line deliberately thin. Mapache is also chivalrous, romantic, hot-headed, brutal, and blundering, the same amalgam we see in Pike and Angel. (Young children are shown admiring Mapache, much as Angel and the children of his village admire Pike; Mapache’s remarks to the children at the battle with Pancho Villa and at Aqua Verde are as banal and deluded as Pike’s admonitions to Angel.) The lie of the male code informing Pike/Angel

and Mapache is revealed in the relationship between Pike and Thornton/Robert Ryan. We can understand their story only in the unedited version of the film, but this two-character construct, basic to Peckinpah’s earlier Ride the High Country (1961), is absolutely

essential to the narrative. In the first flashback, showing Pike’s escape from a brothel and his consequent betrayal of Thornton, the film suggests that the two men are caretakers of shared memories not easily borne. The flashback occurs just after Pike has bragged to Dutch about his willingness to meet the railroad company and Pershing’s army head on (“I wouldn’t have it any other way”). Pike is plagued by the mem-

ory of the bordello episode (“Being sure is my business”), giving the lie as it does to Pike’s entire life. When the Bunch ride out later in the film to rob the train for Mapache, Pike tells Dutch, “This time we do it right.” This line is important since it occurs just after Pike recounts the story of Aurora’s murder and the origin of

THE POLITICS OF THE WILD BUNCH 87

his wounded leg (as Kitses pointed out, Pike’s bad leg makes us recognize him as a “crippled man burdened by his past”; there is another metaphor here since Pike is an archetypal limping hero who prevails, rather pathetically, over a barren land). Pike has never

been “sure” about anything and is not able to “do it right” even when the act is his last chance at personal affirmation. When the bounty hunters find the dead Bunch at Aqua Verde, Coffer breathlessly says: “There he is, there’s Pike!,” to which T.C. responds: “You ain’t so damn big now, are you, Mr. Pike?” Thornton is out of earshot, but the point is clear: no one will ever really know the dignity and profound failure of the outlaw, and perpetuating his legend is not a concern of his lost friend. The bordello flashback, shared by Pike and Thornton, is key to understanding the film’s conception of the hypocrisy the male lives out. Thornton, sent to prison by his friend’s incompetence, continues in his affection for and loyalty to Pike. When Coffer asks Thornton about Pike, wondering “what kind of man we're up against,” Thornton responds

flatly, “The best. He never got caught.” Thornton never betrays his old friend, never revealing the real reason Pike wasn’t caught. The implication here concerns not just Thornton’s affection for Pike, but his need to support Pike’s code, on which rests Thornton’s own identity and self-worth, even if his reduction to bounty hunter forced to pursue his old comrades works principally to shake

Thornton loose from the romanticism to which Pike desperately

clings. While Pike practically cringes from the bordello memory | (he rebounds from the moment of guilt by telling Dutch, “I made him [Harrigan] change his ways”), Thornton bears it stoically (in Peckinpah’s deft cross-cutting), having reconciled for himself the truth about men. The sexual politics are manifest here, since it is

clear that the affection men have for each other is consistently translated into violence and bravura acts resulting in destruction, including self-destruction born of denial of a basic reality. There is no irony in Thornton’s most intimate connection with Pike occurring when Pike is dead (Thornton’s retrieval of Pike’s revolver) as the male code, really the repressed homoerotic code, finally merges eros with thanatos. And Dutch’s whittling on a stick

88 CHRISTOPHER SHARRETT outside the bordello as he mourns Angel’s fate is indeed concerned with Dutch’s affection for Angel about to culminate in a personal

apocalypse that connects the libido to the death wish in an essential prescription of the cult of the male group. Dutch is especially central to the sexual politics of the film and the Bunch’s relationship to the world at large; he appears at some significant transitions that underscore the contradictions of The Wild Bunch. There is a particularly telling moment in the dissolve that concludes the Bunch’s poetic farewell to Angel’s village, serenaded by peasants in a moment that seems to pay homage to the pastoral utopianism of the Western. The dissolve fades into a close shot of a woman breast-feeding a baby; across her bosom rests a bandolier of ammunition. The brutal image turns the scene immediately preceding it into myth. We are now in Mapache’s stronghold, the real world. Dutch and Angel scout Aqua Verde for bounty hunters; their relationship equals Dutch’s camaraderie with Pike. The shot of Dutch and Angel just after the breast/bandolier image underscores the close construction of eros and thanatos, the unbridled id as the consequence of repression so central to the film. Dutch is a support and confidant, challenging Pike on hoary notions such as the sanctity of a man’s word (“It’s who you give it to!”). Yet in many scenes the notion of Dutch as caretaker of the Bunch’s moral conscience is thoroughly undercut. Dutch is also another rather blind disciple who mirrors the hero’s darker aspects, a kind of negative Sancho Panza. He supports Pike’s decision to leave the dead Buck unburied, scoffing at the thick-headed and sadistic Gorch brothers, who sometimes actually display greater

humanity (“He was a good man, and I think we oughta bury him!”). Dutch, after being querulous during his campfire talk with Pike, finally supports Pike’s machismo (“Pike, I wouldn’t have it any other way either”). At the final massacre, Dutch uses a woman as a Shield, presaging Pike’s murder of a prostitute who wounds

him (“Bitch!”). But there is something more ornate to Dutch’s character. Some critics observe half-seriously that Dutch appears to be gay since he doesn’t enter the brothel in the scene just before the Bat-

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same year, Stanley Kubrick used extreme slow-motion squib detonations to prolong the agony of the sniper ambush sequence of Full Metal Jacket (1987) — the first film named after a bullet casing

rather than a weapon, as if to underscore the new obsession with ballistics. In the 1990s, the work of American directors like Quentin Tarentino (Reservoir Dogs [1992], Pulp Fiction [1994]), Roger Avary (Killing Zoe [1994]), Sam Raimi (The Quick and the Dead {1995]), and

Dutch emigré Paul Verhoven (Total Recall [1990], Basic Instinct [1992]) makes a positive fetish of ballistic balletics, and Robert Rodriguez (El Mariachi [1992], Desperado [1995], From Dusk to Dawn

[1996]) has become famous for choreographing gun battles as if they were dance numbers. In Hong Kong, John Woo (The Killer [1989], Bullet in the Head [1990], Hardboiled [1992]) and others cre-

ated an entire subgenre of “gunplay” films around the ballistics of high-capacity automatic pistols by conscious analogy with The Wild Bunch, and Italian director Carlo Carlei explained of the shooting scenes in his Flight of the Innocent (1993), “There is a chain of inspiration like the Bible. ... Everything comes from Peck-

inpah. . . .”°3 This is the sense in which footage from The Wild Bunch appears in the montage of violent images on Mickey and Malorie’s motel TV screen in Oliver Stone’s Natural Born Killers (1994), not as indictment but as history.

And yet, because it has become virtually impossible to see a killing in film or television that is not shot in graphic slow motion, we need to recall what this style meant in the context of its time nearly thirty years ago. Then, as Kathryn Bigelow recalls, it seemed “almost gestalt editing . . . [because] it imploded standard theories . . . and was radical and tremendously vibrant.”>* It was

| - BALLISTIC BALLETICS ——[51 Hollywood cinema borrowing exultantly from both the avantgarde and from television in ways scarcely imaginable only years

before, but doing so, paradoxically, to embody a terrible new knowledge of the pathology of gunshot wounds inflicted by five years of domestic political assassination and the war in Vietnam. NOTES 1 John Baxter, Stunt: The Story of the Great Movie Stunt Men (Garden City, N.Y.: Doubleday & Company, 1974), p. 180. 2 John Culhane, Special Effects in the Movies: How They Do It (New York:

Ballantine Books, 1981), pp. 116-117. 3 Ibid., p. 181. 4 David A. Cook, A History of Narrative Film, 3rd ed. (New York: W. W. Norton & Company, 1996), pp. 281-2. 5S Frank Miller, Censored Hollywood: Sex, Sin, & Violence on Screen (Atlanta:

Turner Publishing, 1994), pp. 56-61. 6 Cook, p. 283. 7 Quoted in Jack Vizzard, See No Evil: Life Inside a Hollywood Censor (New

York: Pocket Books, 1971), p. 313. 8 Quoted in Thomas Doherty, Projections of War: Hollywood, American Culture, and World War II (New York: Columbia University Press, 1993), p. 58. 9 Lawrence Alloway, Violent America: The Movies 1946-1964 (New York: Museum of Modern Art, 1971), p. 54.

10 Writing of this trend in 1950, Manny Farber commented: “Hollywood has spawned, since 1946, a series of ugly. melodramas featuring a cruel aesthetic, desperate craftsmanship, and a pessimistic outlook (“Films,” The Nation, October 28, 1950, p. 397). 11 Ibid., p. 54. 12 The test case for this was Otto Preminger’s The Moon Is Blue, released by United Artists without the PCA seal in 1953. 13 In 1950, The State of New York v. The Miracle attempted to prevent the exhibition of the Italian film Il miracolo (The Miracle [Roberto Rossellini, 1948]) on the grounds that it committed “sacrilege.” The case finally went to the U.S. Supreme Court, which in May 1952 ruled that “movies were a significant medium for communication of ideas” and

therefore were entitled to a constitutional guarantee of free speech. 14 Ibid., 39. 15 The Last Sunset became a cult film in Italy and was championed by the prestigious journal Bianca e nero.

152 DAVID A. COOK 16 Stephen Prince, The Warrior’s Camera: The Cinema of Akira Kurosawa (Princeton, N.J.: Princeton University Press, 1991), p. 233. 17 According to Christopher Frayling in Spaghetti Westerns: Cowboys and Europeans from Karl May to Sergio Leone (London: Routledge & Kegan

Paul, 1981), only about 20 percent of these were distributed internationally. 18 The “Django” character lasted through thirty films, only the first of which was actually directed by Corbucci. More bizarrely violent than Leone’s work, Django was banned in several countries and produced in its immediate sequel, Django Kill (Guilio Questi, 1967), what Phil Hardy calls “the most brutally violent Spaghetti Western made” (The Western [New York: William Morrow, 1983], p. 302). 19 Quoted in Richard S. Randall, Censorship and the Movies: The Social and Political Control of a Mass Medium (Madison: University of Wisconsin Press, 1968), pp. 201ff.

20 Review of Duel at Diablo in The New York Times, October 16, 1966, p. E-6. 21 David Weddle, “If They Move... Kill ’Em!”: The Life and Time of Sam Peckinpah (New York: Grove Press, 1994), pp. 243, 250. 22 Eric Barnouw, Tube of Plenty: The Evolution of American Television, 2nd rev. ed. (New York: Oxford University Press, 1990), p. 348.

23 Andre Labarthe and Jean-Louis Comolli, “The Arthur Penn Interview,” rpt. in Sandra Wake and Micola Hayden, eds., The Bonnie and © Clyde Book (London: Lorrimer, 1972), pp. 165-73.

24 Gary Crowdus and Richard Porton, “The Importance of a Singular, Guiding Vision: An Interview with Arthur Penn,” Cineaste, 20,2 (Spring 1993): 9.

25 Labarthe and Comolli, p. 169. 26 The still frames appeared in “The Assassination of President Kennedy,” Life, November 25, 1963, pp. 24ff., and “A Matter of Reasonable Doubt,” Life, November 29, 1966, pp. 38-48. Time-Life Corporation paid Zapruder $150,000 for his 8mm film of the assassination on November 25, 1963, and kept it under lock and key for twelve years, except when it was subpoenaed by Jim Garrison for the Clay Shaw trial in New Orleans in 1969, after which bootleg copies began to appear. However, the the first authorized public showing of the Zapruder film did not take place until November 10, 1974, in Boston, and the film was first shown on national television on March 6, 1975 (on ABC’s Goodnight America, hosted by Geraldo Rivera), at which point

Life sold the film back to the Zapruder family for $1. It seems virtually impossible, therefore, that either Penn or Peckinpah had seen the Zapruder film as such while Bonnie and Clyde and The Wild Bunch were

BALLISTIC BALLETICS 153 in preparation. However, public awareness of the film as the crucial evidentiary basis of the Warren Commssion’s Report was very high in 1967 owing to media coverage of the Garrison investigation and the

January. ,

release of Emile de Antonio’s film of Mark Lane’s Rush to Judgement in

27 Labrathe and Comolli, pp. 62-63. | , 28 “Warren Beatty ‘Bonnie’ Share,” Variety, August 7, 1968, p. 1.

29 Both this phenomenon and the film’s repeat business are recounted in the Time magazine cover essay “The Shock of Freedom in Films,” December 8, 1967, pp. 66ff. The author can verify both, having seen Bonnie and Clyde four times between October and December 1967 at theaters in the suburbs of Washington, D.C., with audiences stunned

into immobility by the film’s conclusion. |

30 Culhane, pp. 120-1. , 31 For the record, Corman’s film and Penn’s were released just weeks apart, in August and September 1967, respectively. 32 Quoted in Laurent Bouzereau, Ultra Violent Movies: From Sam Peckinpah to Quentin Tarentino (New York: Carol Publishing Group, 1996), p. 3.

33 Crowdus and Porton, p. 12. 34 Quoted in Marshall Fine, Bloody Sam: The Life and Films of Sam Peckinpah (New York: Donald I. Fine, Inc., 1991), p. 124.

35 Quoted in Weddle, p. 331. ,

36 Ernest Callenbach, “A Conversation with Sam Peckinpah,” Film Quarterly 17,(2) (Winter 1963-4): 10. 37 Donald Richie, The Films of Akira Kurosawa, 2nd ed. (Berkeley: University of California Press), p. 162. 38 According to Jaime Sanchez, who played Angel, a perforated, fleshcolored tube of pressurized stage blood was run across his throat, which burst open on contact with Emilio Fernandez’s (Mapache) rubber knife (quoted in Weddie, p. 342). A side view of this action, showing the

blood spurt, was eliminated from the final version to avoid an X rating (Fine, p. 144). 39 Weddle, p. 329. 40 Marshall Fine, Bloody Sam: The Life and Films of Sam Peckinpah (New York: Donald I. Fine, Inc. 1991), pp. 142-149.

41 Ibid., pp. 144-5. |

42 Garner Simmons, Peckinpah: A Portrait in Montage (Austin: University of Texas Press, 1982), p. 85.

43 Lombardo, quoted in Weddle, p. 333. 44 “Brutal Films Pale Before Televised Vietnam’ — Valenti,” Variety, Feb-

ruary 21, 1968, p. 2. ,

154 DAVID A. COOK 45 Two 1969 Supreme Court decisions were also involved in the creation of the ratings system. In Ginsberg v. New York, the Court ruled that the government could protect minors from sexually explicit materials; in Interstate Circuit v. Dallas, the Court affirmed the basic constitutionality of local censorship ordinances. Together, the two decisions suggested that communities could establish their own censorship guidelines for minors, so the MPAA set out to beat them to it. 46 Stephen Prince, Savage Cinema: Sam Peckinpah and the Rise of Ultraviolent Movies (Austin: University of Texas Press, 1998), pp. 12-27. 47 Weddle, p. 308. 48 According to George Roy Hill in the documentary The Making of Butch Cassidy and the Sundance Kid, the sequence was shot with both over-

cranked and undercranked cameras, with the intention of intercutting the resulting footage. But Hill felt that the fast-motion shots made the sequence too “balletic” and retained only the slow motion shots of the action in the final film. Butch Cassidy and the Sundance Kid (released in October 1969) went into production on September 16, 1968,

some three months after principal photography was completed for The Wild Bunch (released in June 1969), so it seems unlikely that Hill

used Peckinpah as the source for his slow-motion violence, whose squib work is in any case nearly bloodless. 49 Arthur Penn’s Little Big Man (1970) also offered a version of the Sand Creek massacre, less gory than Nelson’s, that - surprisingly, perhaps — used only one exploding squib shot, without either spurting blood or slow-motion. Both Soldier Blue (released in August) and Little Big Man (released in December) intended a parallel between Sand Creek and the My Lai massacre of March 16, 1968, which had recently been revealed in the American press. 50 Quoted in Bouzereau, p. 158. 51 The term “ultraviolence” originated with Anthony Burgess’s novel A Clockwork Orange (1962) and was popularized by Kubrick’s brilliant

adaptation of the book. 52 Weddle, p. 373. 53 Quoted in James Greenberg, “Western Canvas, Palette of Blood,” The New York Times, February 26, 1995, “Arts and Leisure” Section, p. 26.

54 Ibid.

WHEELER WINSTON DIXON

Re-Visioning the Western: Code, Myth, and Genre in Peckinpah’s The Wild Bunch

The Wild Bunch was made just as the Western as a reliably profitable program staple was supposedly dying out after being the most dependably audience-satisfying structural format for more than seven decades. It is worth noting that despite evidence

of the current “collapse” of the Western as a marketable commodity, there are still more Westerns in cinema history than any other Hollywood genre. Just as The Great Train Robbery (1903), Stage-

coach (1939), and High Noon (1952) reconfigured the landscape of the American Western (and, in the case of The Great Train Robbery, helped to create it), Sam Peckinpah’s The Wild Bunch re-created the genre of the Western for the late 1960s. This film remains fresh

and vital today because of the enormity of its revisionist enterprise. In its use of slow-motion photography to accentuate key moments of suspense and/or violence, in its creation of an entirely new set of character values for its protagonists (notably William Holden as Pike Bishop and Ernest Borgnine as Dutch Eng-

strom), and in its elegiac embrace of the “end of the old West,” The Wild Bunch, particularly in the extended director’s cut (which I saw in a preview screening in 1969 as a writer for Life magazine and which is now readily available on home video), it constitutes a complete re-visioning and reconfiguration of classical Western 155

156 WHEELER WINSTON DIXON

genre values in a way that sweepingly calls all previous examples of the genre into question. It is also interesting that The Wild Bunch should appear at the same time as George Roy Hill’s Butch Cassidy and the Sundance Kid

(1969), a film that offered a far more conventional and senti- | mental view of the West than The Wild Bunch, although it, too,

culminated in a fatal shoot-out for the protagonists. There are moments of respite in The Wild Bunch (notably the idyllic stopover in Angel’s village, discussed later), but for the most part, The Wild Bunch is propelled forward through action and violence. Unlike Butch Cassidy, which can also be considered a “buddy” Western, the gang in The Wild Bunch is held together by greed and

a cruel sense of humor that dictate their every move. Romantic interludes in The Wild Bunch are “paid affairs” with prostitutes; the film opens with a violent robbery gone wrong and then coalesces into one extended chase sequence for the rest of the film, with time out only for sleeping, fighting, or planning the gang’s next illegal escapade. One could hardly imagine the song “Raindrops Keep Fallin’ on My Head” being incorporated into Peckinpah’s vision of the West, as it was in Butch Cassidy, as a prominent

set piece in the film. Unlike the romantic and leisurely world of Butch Cassidy, violence in The Wild Bunch is insistent and omnipresent, not episodic or sporadic. The cruelty and sadism of the film are everywhere apparent. The Wild Bunch presents a new sort of heroic figure to the

audience, one that is prefigured only by the lone-wolf protagonists of 1940s American film noir: the hero as antihero, a loner and a violent misfit who seeks only to survive through the disruption and abrogation of the established rules of the existing social contract. Mirroring this interior state of continual destruction and renewal, the editing of The Wild Bunch is at once intensive and plastic yet nonintrusive; as David Cook notes, with 3,642 cut points, the film is one of the most intensively edited motion pictures ever produced.! The forced sentimentality of John Ford’s “coded West” has been replaced by the rampant intensity of mob violence and individual ambition; Howard Hawks’s “profession-

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INNOVATION AND RETREAT [77

throw pennies at to this day.) Radical in its violence, the film still communicates death in a way that is both insanely urgent and reflectively distanced, convulsive and appreciative, in the manner of those painters (Picasso, Goya) Peckinpah has so often been allied to. This much is obvious, so obvious as to be as impervious to revision as the hide of a white whale is to the harpoon. But The Wild Bunch, when it is not choking on its violence, is a work as reactionary as the dime novels that in another time had so brazenly mythologized the West, that eagerly constructed false truths and turned to the most bilious of homilies to quantify everything that was wild and inchoate in the youthful country. Taken as a whole, The Wild Bunch sags from the weight of the clichés it buys into; it leaks power through holes of complacency. Despite the greatness in it, the film is a failure, and on no terms so much as those Peckinpah set for himself. He opens so audaciously, with a chaotic shoot-out that catches an entire town — old men, corseted matrons, tiny children — in its fire: a surge of bloody and outra-

geously displacing action to kick things off. What Peckinpah | promises us here is a West (not just a Western) we haven’t seen,

heard, or felt before, shot through the prism of all that was san- | itized out of the classic Western — not only filth and frustration, blood and guts, sex and sweat, but the heavy hand of a particularly savage mortality shadowing the Western heroes who

used to ward off the buzzards with buffed buckskin and a long- | legged stride. It is a promise made with the famous words that, so chilling and clever in the timing, precede Peckinpah’s own name in the opening credits: “If they move, kill ’em.” It is a promise and

a threat, thrown at the audience like a knife - and Peckinpah doesn’t make good. |

Perhaps he couldn’t make good, not at that time. The Wild Bunch is a personal film, and so its complacency, its evasions as both art and worldview, are Peckinpah’s. It’s the work of an auteur | all right, but an auteur who, although visually prodigal is emotionally limited in terms of what he can convey with film. This movie, like its maker, does not know whether to go forward or back. It is excited by the thrill of the new but is afraid to relinquish

178 DEVIN McKINNEY the comfort and moral certainty of the familiar. This is the schism the film inhabits, the internal conflict that defines what it is, the Key to its failure.

As an individual, Peckinpah was contradictory in all the classic

| ways; as a filmmaker he was the same, possessed of a nature that. folded inward in a division that determined equally his best choices and his worst. The biographical anecdotes sketch a man capable of surpassing loyalty and abrupt betrayal; a vociferous opponent of America’s Vietnamese incursion who nevertheless vaunted

his own Marine past; an autodidactic theorist of human aggression apparently powerless to fathom his own bulging veins and hairy chest. He was the scion of a rigid and exclusionary WASP family, yet the wealthy, prominent Peckinpahs were only a generation removed from the decidedly more savage realities of their pioneering forebears, and Peckinpah absorbed this grimier history even as he was living within the protections of an established life. The early-twentieth-century Fresno over which the Peckinpahs and their set held sway was a modem frontier town in which saloons vied for the young man’s attention alongside temperance unions, brothels alongside the guardians of sexual rectitude. “This disparity between the romantic myth and the reality of the Wild West,” writes David Weddle, “provoked complex reactions in the young Sam Peckinpah. His deeply conflicted feelings toward both

would later give his Westerns an incredible emotional charge.” This charge comes from his vacillation between opposite poles, most often those representing a received (social or mythical) re-

sponse to life and its vicissitudes as opposed to an internalized, personally interpreted response to them. An old story: Peckinpah’s

was a schizophrenia unique to the male American artist who is caught between what his macho conditioning tells him is true and what his artist’s heart feels to be true. It is this schizophrenia that in The Wild Bunch allows the director to linger on the destruction wrought by his star killers even while sanctioning them for hav-

ing their personal loyalties in place. It is this schizophrenia that dictates another film’s sympathetic and fleshly portrait of the

INNOVATION AND RETREAT 179 bawdy, self-motivated woman (Hildy in The Ballad of Cable Hogue),

only to contradict such a portrait with the next film’s misogynistic depiction of sexually driven femininity (Amy in Straw Dogs). One reason Peckinpah is not the easiest filmmaker to embrace is that his work is rampant with right angles both ideological and artistic; he offends one’s sense of single purpose. But by any realistic measure it would have been wrong to expect of Peckinpah anything other than a divided art, and difficult not to recognize that The Wild Bunch is a film fundamentally divided against itself.

But contradictions in and of themselves are no guarantee of aesthetic worth, though in a postmodern age suspicious of formal

symmetry they can often be taken as such. Contradictions are productive only insofar as they are both unconscious and to some extent willful. This is to say that the contradictory impulses in an artist’s nature must be subliminal enough to have a life and a play of their own, but that the artist must be aware of them and pos- » sess the skill and inspiration to make them work in his favor. In

Peckinpah’s signal work the contradictions are rendered fluid, dynamic; the opposing attitudes speak to, mitigate, reshape one another. When an artist lacks either the skill or the self-awareness, the contradictions register as dumb, immutable facts clashing insensately; witness the Dirty Harry series in which Nixonian law-

and-order politics make nonsense of the hymn to rugged (read homicidal) individualism. What made Peckinpah’s contradictions count as aspects of a sensibility was, simply, that he finally was aware of them - even if he was only sometimes able to incorporate them into his works

in productive ways. Unlike so many other indulgers in manicdepressive, passive-aggressive, constructive-destructive extremes, he was sufficiently clear of eye to spot the psycho-symbolic portents in his own background; hence his tight connection to those

divergent elements that were determining his work. Peckinpah spoke of being raised by a mother who believed “absolutely in two things: teetotalism and Christian Science,”* but he was thinking of the loggers and trappers and mountaineers among his ancestors when he said, “My people were all crazy .. . just crazy.”> Perhaps

180 DEVIN McKINNEY he was thinking of both when he staged the Wild Bunch’s opening,

with its teetotalers and crazies caught in a conflict so savage and direct that it gives some idea of the acuteness of the contradiction as Peckinpah must have perceived it. This —- a schizophrenia realized, in some portion submitted to — was what enabled and even

forced Peckinpah to contradict himself more flagrantly than any contemporary moviemaker, to move from the cold, raw condemnations of Straw Dogs to the folksy warmth of Junior Bonner, in which no character is so harshly judged — with neither the condemnation nor the generosity registering, in its context, as a false posture.

So all right, Peckinpah was large, he contained multitudes; where does this position The Wild Bunch? Firmly under the sway of this schizophrenia. All of Peckinpah’s contradictions expressed in their various ways

one umbrella contradiction: the impulse toward innovation, the drive forward, weighing against an equally strong draw backward —

backward in history, in values, in cinematic style. A man of his moment with the mentality of a frontiersman, Peckinpah saw in the Western a depiction of past times that he could make over in the image of a new world. If his attraction to the Western as a genre

indicates his nostalgia, his brutalization of the old materials into a new form evinces a drive far more radical than reactionary. But all of this is after the fact. Peckinpah had to discover for himself, film by film, everything that appears evident to us now. The Wild Bunch, a work constipated and not mobilized by its con-

tradictions, so confident in its violent technique and so needlessly regressive otherwise, is transitional, a lesson Peckinpah was

teaching himself. What to hold on to and what to outgrow; how to parlay a radical vision of violence into an inclusively radical vi-

sion of the Western genre and of life as it could be portrayed within the confines of a commercial art form. He did not know himself in the sense that we as his analysts pretend to know him, but he learned.

A certain literary orthodoxy has it that the first and last paragraphs of any serious novel are bound to be microcosms front and

INNOVATION AND RETREAT Isl

back of the present project. Let’s first consider the opening and penultimate scenes of The Wild Bunch, where Peckinpah unleashes in most concentrated form the violence that he became famed for, the violence that gives this film its still-live wire of radical energy.

And then let’s consider the rest of the film. As always, Peckinpah’s prelude girds several fields of action simultaneously: The bunch ride into town for what they expect will be a routine bank job; Deke Thornton’s scurvy ghouls load up for an ambush; the temperance society preaches pieties; giggling children play Lord of the Flies. The flow of imagery is fluid despite being particularly dense with portentous movement, strikingly physical, very much in the present tense. But as each credit appears the on-screen image is fixed in place for several seconds, and

all color and definition are excised, leaving only a rough, minimalist version of that fixed image — an approximation, clearly, of frontier photography and lithography, redolent of “Wanted”

posters, daguerreotypes, parchments blanched with age.°® _ Surely Peckinpah’s motive in imposing this formal tic was to presage the past-present conflict, but in doing so he also gives us the first glimpse of the movie’s unproductive schism - that contradiction between Peckinpah’s obeisance to outmoded tradition and his fervor for translating it into a new film language. For more than anything, these credits are, in pure film terms, about motion versus stasis, the director’s desire for present-tense movement set off against his impulse to crystallize selected moments of time into instant history. Innovation demands a multileveled engagement with the immediate moment, while retreat reaches for the simpler, less detailed evocation of the past. But if this opening scene defines what will eventually prove to be the film’s limits, it is also challenging and dynamic enough in both form and feeling to escape those limits. This is even more true of the sequence that will end the picture, one of the most famously

contradictory sequences in any film, the one that horrifies as it thrills, disgusts as it delights, inspires anger as much as approbation. The film’s concluding massacre is five or six minutes of pure paroxysm, aurally a concrete block of uninterrupted gunfire and prolonged kamikaze screams, visually a danse macabre composed

182 DEVIN McKINNEY of clumsy lurchings cut against the most elegant and unlikely balletic movement, with bodies either isolated or in concert wafting sideways, floating skyward, drifting down. Peckinpah maintains

both the grace and the pressure until there comes a point where the viewer who is not beaten back into blindness achieves what D. H. Lawrence calls “the pitch of extreme consciousness.”” Formal beauty issues even from the filth. Bullets raise great plumes of dust in long rows, and each puff is a Busby Berkeley dancer throwing her kick. The sequence is musical in its small symmetries, its syncopations. Ernest Borgnine sinks heavily to earth, his

unheard thud a downbeat setting up for the detonating hand grenade and the pinwheeling of a half-dozen Mapache soldiers through the air. The film loses its mind, and with insanity comes an unimagined lucidity. A passionate, astonishing, genius five minutes — a short film about killing. It’s enough to redeem The Wild Bunch from its own hackneyed soul and clichéd longeurs — if rhetoric carries the day. Otherwise, no. The film that has preceded this climax has been too sane by half: too well adjusted to the very conventions of genre and medium that the massacre makes irrelevant. The aesthetic in-

sanity of it, total enough for the viewer to lose all spectatorial identity in its tide, is not retroactive; it is self-contained, its blood doesn’t spill over onto the rest of the picture. Finally, the climax is emotionally overwhelming not because it is itself an emotional act or because it forces a confrontation with loss, but simply because it is so climactic, for Peckinpah as much as for any viewer. It releases the largely untapped energies of the previous two hours, energies dammed by schematic characters, melodramatic confrontations, sentimental elisions, and tumescent whorehouse romps. Like many an act of murder in the real world, Peckinpah’s kiss-off of the Wild Bunch is a way of breaking the tedium — violating the routine one has set for oneself. But it’s worth asking what the violence and Peckinpah’s styling of it have to do with the film’s unproductive schism. In a way, the violence itself encapsulates the schism — only here it does, within its limits, function productively. The violent style of The Wild

} INNOVATION AND RETREAT 183 Bunch is Peckinpah’s trademark, snippets of real time knotholing the smooth grain of slow motion, the liquid free falls and crash landings versus the jarring, inelegant rip of amoment’s brutality. The interruptions of violence in real time represent that same innovative drive, putting across violence with a new force and explicitness, while the rhythmic cuts in and out of slow motion pull back to something less confrontational, more considered. The realtime cuts are in a sense antiaesthetic: blunt, ugly, factual. Slow motion has the other effect, that of reifying the chaotic presenttense action into something only marginally physical and wholly aesthetic, freezing chaos under a cool gaze, the gut-shot body no longer flesh and tissue so much as a sculpted object falling languidly through indeterminate space. The combination of textures, of staccato and legato, militates against the unreflective impact of mere shock, and forestalls the intellectual oblivion that is usually the partner of kinetic excitement. This is where the schism - that tension between backward and forward movement — does not hinder the integrity of the material but achieves it, enlarges rather than cramps one’s perception of it. If The Wild Bunch is a constipated work, then. the violence has the effect of a laxative in the body of the whole film, allowing the art to flow rather than stopping it up. |

But this success points up Peckinpah’s inability at this stage of his career to instill his nonviolent scenes with the same kinds of sensual complications. The violent heights of the film — the initial shoot-out, the dynamiting of the bridge, and the climactic massacre — are peaks separated by great lengths of comparatively barren incident and encounter, scenes not freighted with the same weight, not occupying the same matrix of meaning. Because outside of its violence the film is too much a collection of unquestioned surfaces, of obvious exigencies — its life is all exterior, nothing unifies it subliminally. The Wild Bunch has political subtext to spare, but the Vietnam parallels were an association the film’s audience was already prepared to make; these implications are pres-

ent but thoughtlessly so, a confirmation of the obvious rather than a foray into the ambiguous. The film is notably short on the

184 DEVIN McKINNEY , subtext that derives from visual and emotional styles deployed in the invisible ways that secretly structure a viewer’s whole response to a film — just that realm where Peckinpah could have proven himself another kind of master, and later did, though by then few seemed to care.

The film’s undercurrent — that hidden auto-critique that all works yield in some form — does not buttress the radical, deathcentered implications of the violence. Rather, it reiterates the dewy-

eyed macho romance of the screenplay, not to mention that of the Hollywood Western tradition, the limits of which Peckinpah sought to explode. (It makes sense, John Wayne feeling that The Wild Bunch “would have been a good picture without the gore.”®) In this regard it is decidedly inferior to The Searchers, an archetypal Hollywood Western, wherein the racist text was qualified by

a succession of red-drenched images that suggested something bloody and guilty bubbling up from the unconscious of the West-

| ern genre. Granted that Peckinpah seldom worked on the level of purely visual implication: His individual images, unlike those of, say, Antonioni or Kubrick, are not usually fraught with meaning — “meaning” here referring to a symbolic or extratextual level of interpretation, as opposed to the emotional and visceral meanings his best films are rife with. For Peckinpah the meaning most often resides in such subtleties as the juxtaposing of images, the modulating of rhythms and energies from scene to scene, the physical

terrain of the actors. ,

At his best, Peckinpah was able to unify a film in a way that had

nothing to do with the standard chinoiserie of auteurist style and everything to do with simple tonalities — visual and emotional moods pervasive enough to communicate ambiguity even when a screenplay mouthed platitudes. The deep blues and blacks of Pat Garrett and Billy the Kid — its deemphasizing of the redemptive possibilities of landscape and light —- are endemic to its slack-eyed de-

piction of a new West that is bruised, battered, and sexually spent, and gaunt with age. For Straw Dogs Peckinpah used locations and surfaces to instill palpable cold in each frame, to give scenes the

taste of metal and the texture of slate, and basted the result in a

_ INNOVATION AND RETREAT 185

dirt-colored half-light that mocked any triumphal aspect that might have attended David Sumner’s coup de grace. The Wild Bunch is visually and emotionally generic in comparison, and not simply because there’s only so much novelty a director can impart to the same yellow desert, yet another clapboard hamlet, the eternal hacienda. Directors from William Wellman (The Ox-Bow Incident [1943] — perhaps the first noir Western) to Monte Hellman (The Shooting [1965, released 1967] — horse opera

as ghost story) have shown that even this ancient genre can pulse with new blood if squeezed at the right pressure points. Though

Peckinpah achieves this level of innovation in his framing and cutting of the violent passages, those long stretches in between — when dialogue and dusty trail must carry the film’s whole burden —

are put forth in a mode that wavers between nostalgic languor and dyspeptic impatience. Thematically they are loaded with Peckinpah’s reactionary temperament (typified by too many scenes of hearty male laughter fatalistically booming in a nonexistent abyss),

while texturally they are void of his innovative temperament, which craved new ways to impart to death a beauty and a terror, a meaning and a moral weight. In these long passages bridging the set pieces —- the “character”

scenes, the majority of the picture — Peckinpah treats death like weather, talking about it (usually in aphorisms) but not doing anything about it. Such scenes as Dutch and Pike’s fireside dialectic on mortality (“Back off to what?”) may speak to death as a theme, but tonally and as visual realizations they evade the issue by seeming arch, obligatory — felt, perhaps, but in a too-familiar

way. So much else in the picture, what should be the emotional guts of it — the guts that all the violence would ideally blow open,

spread out in a new context for our reconsideration — is in this way devalued, denied the rude energy, the immediacy of action

lived in the moment. There is rudeness in the film, to be sure, but of a genre-approved variety; cliché lives at the heart of that rudeness, and freezes it. There is Peckinpah’s dotage on Albert Dekker as Harrigan, the railroad boss who cracks the whip behind Deke Thornton. If this

|86 DEVIN McKINNEY man represents evil, the death force loose in the capitalist mind, no one need lose sleep: As offered to us, the diabolical Harrigan wears a Snidely Whiplash cosmetic scowl, and is so grincing and fulsome in his evil that it is impossible to imagine his like insinuating itself poisonously into the American scene, for who would take him for anything but the backlot villain that he is? In a better film this man would represent himself first of all; then he would represent the railroad, and money, and capitalist rapacity, and the

rest. He would have his reasons; he would not subsist merely on the bread and water of undirected sadism.

So many tired pranks in this story. The mangy comedy of Strother Martin and L. Q. Jones has no place in a film of this intended seriousness; meant as comic relief, their byplay only annoys because it is not strikingly comic and because the idea of relief is again the film’s trapdoor. Relief from innovation, relief from tension, from the threat of death — Peckinpah is relieving us left and right, letting us off every hook his violence puts up. Then there

is the detour to the Mexican village of Angel’s birth, quoting a | scene from The Treasure of the Sierra Madre and posed as an idyll

from the Hollywood wax museum: appreciative, gringo-loving Mexicans biding their time until revolution comes, Angel puffing his noble chest with vengeful, noble thoughts. The Bunch move on to Mapache territory, and they are sent off with a song. Pappy Ford himself would weep, and partly out of appreciation: His tradition is not disturbed by these scenes; their dues to the tradition

are paid in full. |

It is not necessarily mere political correctness to decry the excess of a white American male’s macho sentimentality in the picture, from the cultural imperialism of the Bunch being serenaded by worshipful Mexicans to Angel’s impulsive murder of his exlover Teresa, a wanton act of the phallus swept away in the wake of the men’s hysterical laughter. Buffoonery of any kind can be given depth if the perspective is right — if the artist knows it well enough to share in it at the same time he is revealing it. But here it has no depth because Peckinpah, though he is sharing in it only to a degree, is not revealing it at all. If anything, the director shows

INNOVATION AND RETREAT 187

more complicity with the infantile abandon of the Gorch boys than with Pike’s fleeting intimations of disaster. When the Gorches

shoot holes in wine barrels and shower in the spray with their whores, or when Mapache’s men suck tequila off the compliant legs of village women, there is always an overlay of music to boost

the occasion — trumpets and mariachi, music with a hint of parody, but more than a hint of triumph. Visually the camera’s eye is anything but critical. The director is prodding along these revels, offering them as the rewards of a man’s tiring, dirty work, an entertainment in which we are to share. Fine — if the buffoonery is going to be complicated by its opposite, the sense that these are grown boys acting out a little boy’s fantasies of pillage, that the macho sentiment is an evasion of life

because it is an evasion of fear. But Peckinpah does not gofarin spelling this out. So the scenes of lusty male bravado lie effectively

dormant and unrelievedly asinine. But in the case of The Wild Bunch, this is more than the old Hemingway bluster showing itself. _ It is again the call of nostalgia, and these scenes act as correctives

to all the instability thrown up by the violence. Acomplacent au- _ dience takes comfort in the bluster: This we understand - this old movie world where men are men and women are receptacles or at best (the treacherous Teresa) the deus ex machina to trip a man’s righteous trigger. We’re paying homage to the genre, we’re situ-

_ ated in a tradition. Relief. |

There is one component to the film, aside from its violence, that

threatens to defy relief, and it points in a direction Peckinpah , would only later follow. This component is Robert Ryan as Deke ©

Thornton — both the actor and the character. It isn’t foolish to | _ speak of Deke as the film’s symbol of death in life, a man compelled to move forward but arrested in time. Unlike his opposite number, Pike, Deke has no facile escape hatch from the modern predicament. Pike, being an outlaw unreconstructed, can - must -

blast his way into the next world, achieve heroism in that final blaze, the heroism obviating his outlaw’s weakness, his lack of direction. But Deke, by virtue of the choices he has made, is the one

: who must go on living in this new America where nothing will

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INNOVATION AND RETREAT 189

_ thing more haunted, the film haunted by its darkest notion of itself; but then the scene shifts, the shadow is averted, the film attains its relief. Peckinpah gives this pattern away early. Following the opening shoot-out, Ryan walks sad-eyed through the corpseridden streets, and Peckinpah looks down with him at the splayed

bodies, all that residual hysteria; then, too quickly, the moment is over, foreshortened by Dekker’s stagy bark and the imperatives of narrative machinery. More than once in his handling of Deke, Peckinpah leads his audience to the precipice and then whisks it to the next genre banality without allowing time for the impact to

sink in. Catharsis is terminated before it begins, the contemplation of death not even a memory, more the wisp of a discarded fancy. This aftertaste, essential if the film is going to constitute a spiritually —if not formally — unified attack on cinematic propriety and

the audience’s emotional distance, is shortchanged. Other roads are not taken, either, or they are glancingly assayed. The epochal social transformation these characters are meant to embody - capitalist hegemony in, free-range individualists out — stands monolithically at the center of the film. Peckinpah means in some way to excoriate the expediencies of an America newly mechanized, urbanized, and capitalized. But lacking the urgency of something reimagined in terms of a particular kind of social violence, the tragedy of human obsolescence remains a dramatic stratagem rather than a true theme, abstract from the physical violence that fires off around it. The passing of the Old West had been a common movie plaint at least since Ford’s The Iron Horse of 1924, and Peckinpah makes no radical move to revitalize or subvert the su-

perannuated conceit. Perhaps he believed in it too much - or too. little - to question it, but whatever the reason, there are scant reserves in the film of the one emotional element that would have | enabled it to put a human face on a hoary cliché. That element is fear — fear of not only one’s own physical death, but of the death of the entire world one has known, the consigning to the dustbin of history of one’s collective identity and milieu. This is what the drama of social transformation means in human terms, at least

190 DEVIN McKINNEY for those not in a position to sit at the throne of a new world order; this is the drama that, if treated comprehensively, might have set the film tensing with the fear it lacks. Instead Peckinpah bargains low for the predigested inevitabilities of a hundred other cowboy-movie scenarios. Nostalgia. And so he defines the drama in terms that are false to the style. The violence that Peckinpah glories in and devotes his energies

to needs an equally rich insinuation of dread to carry through emotionally as well as kinetically. The great film that The Wild Bunch is not would make more of the small, everyday deaths that prefigure the big death, would fortify its geysers of blood with a strong undercurrent of hot, quiet despair, and would render the

twilight of the gunmen in emotional shades as novel and unnervingly subtle as the physical. What all of this means in effect is that although the violence as artistic form and expression stands up, it stands too much alone. The bloodshed is not as integral to the film that surrounds it as it may seem. The world of The Wild Bunch is a world in which violence occurs, but it isn’t, as it has to be, a violent world. The violence of it has been referred to as “spectacular,”? and it is; but were it truly integral, it would not be so much a spectacle as an intensification of emotional tones and existential fears already present in the most dispensable mundanities of dialogue and set design, the length of a shot or the cinematographic play of light on water. This yields a clue to the film’s ultimate failure of vision, and points out the singular superiority to it of Pat Garrett and Billy the Kid. For Pat Garrett does everything The Wild Bunch does not do. It reimagines its clichés, sometimes word for word, in terms that are not themselves clichéd; it gives the resonance of tragedy to the social transformations that render its heroes historically absurd; it uses the filmmaker’s particular materials to depict a world in which violence is not spectacle but only a blunter version of business as usual. And it is an utterly despairing vision. This last is especially important. It’s not often noted that The Wild Bunch is, despite its violence, finally an attempt at an affirmation — of life, of camaraderie, of manhood. This is inherent in

INNOVATION AND RETREAT I9|

the material: the clichés of the story themselves affirm the refuge the screenplay takes in generic scenes played out obligingly. But more than this, Peckinpah bolsters that fundamental affirmation in so many ways that it must have been purposeful on his part. The picture is filled with laughter, its sound hollow but not des-

perate; this isn’t the laugh of men drowning out death with the ring of bonhomie, merely men responding obliviously to the onrush of doom. The macho buffoonery, to repeat, is shown not as an evasion of fear but as an embrace of life. And the film’s resolution, even coming so soon after the massacre, is ineffably “up.” Among the points scored at the last are the rough justice meted out to Thornton’s gang of corpse robbers; the assurance that the _ villagers’ resistance will continue; and the reunion of Deke and Sikes, the survivors left to renew a once hearty and potent Bunch. There is the smile on Ryan’s face — and here Peckinpah finally gives that one nagging symbol its relief - when Edmond O’Brien delivers the film’s last line: “It ain’t like it used to be, but... it’ll

do.” In the event that we do not take these words to mean precisely what they say, Peckinpah then brings up the music and stretches out O’Brien’s enduring cackle — surely the longest continuous laugh in screen history -— till it meets a series of curtain calls showing the stars also laughing, carefree, as they were in life. Presumably their spirit lives on in all men. Affirmation. And an

| affirmation that is nothing if not shamelessly nostalgic, a last sentimental reach for the safety and final moral order of another time, for that dim and ill-defined past. In the face of all this, it hardly matters whether Peckinpah truly

meant for the violence to have the effect of embittering the ma- | terial and traumatizing the audience, or if he only staged these grand savageries to gratify some personal perversity. (Or, as is most

likely, both.) What matters is not intent but effect, what a filmmaker leaves on the screen and what a film leaves on an audience — and by this measure, Peckinpah’s postmassacre coda recapitulates everything affirmatively, tidily, and dubiously; picks it up and dusts it off, as it were, and sends it out bravely to face an-

other day. Does the memory of death, which an audience sheds

192 DEVIN McKINNEY easily enough in any case, stand a chance against the sequential return of our heroes in cross-faded, soft-edged vignettes, enjoying a final belly laugh to the unctuous backing of the Mexican lullaby? Undeniably, the final note is of grace, resurrection from mere temporal death into the nominal afterlife of hagiography. This is what an audience is left with, and it is left with a lie - at the very least, the kind of rhetorical simplicity that, from an artist as bitter as this, will always seem less than the truth, no matter how necessary it may be to the completion of a certain dramatic form. The sentiment of uplift was not Peckinpah’s métier, and he knew it— or came to Know it, perhaps in part from having made The Wild Bunch. So, when, a few years later, he returned to the development of a long-dormant screenplay about Pat Garrett and Billy the Kid that in its elemental conflict - unregenerate outlaw pursued by selfloathing ex-confederate — is identical to The Wild Bunch, it made

sense that he should now concentrate on the conflicted pursuer rather than the bandit whose code of honor and moral designations remain relatively undisturbed throughout. Pat Garrett is a far deeper, more troubling business than The Wild Bunch precisely because its protagonist is not Pike Bishop but Deke Thornton. Even at his most demoralized, Peckinpah still had a romantic streak, and Pat Garrett is sentimentally elegiac to the extent that it finishes off Billy the Kid with a glamorized Christly death in a lachrymose setting. But its elegy is unsettled, hedged, far from ab-

solute, as if Peckinpah now knew what he hadn’t known four years earlier — that in the only terms honest to himself, death had to be treated as a true end, not as a mere passageway leading out

at the credits to the netherworld of posthumous glory. This is why, as against the laughter and communal singing of The Wild Bunch’s wistful peroration, Pat Garrett closes on its conflicted hero hitting the dust under a mercenary’s bullets. Visually it explicitly recalls Joel McCrea sliding out of the frame at the end of Ride the

High Country. But the meaning of the image has been pulled inside out: Now death is wrapped up in betrayal and defeat, not in the final defense of honor or the anticipation of a secondary life in Hollywood heaven.

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