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Sam Peckinpah’s ‘The Wild Bunch’ is a masterpiece western. Not the best ever made, but cessation. So don’t consider I don’t like this movie because I savor it. However, since Mexicans are its villains, perhaps you’d be keen to read an concept from this side of the border.
The Mexico of ‘The Wild Bunch’ looks more like a metaphor than a proper position. It is both Heaven and Hell; the theatre where the bunch will secure Death but also Redemption. Accordingly, every Mexican depicted in the record is either a saint or a monster (no middle ground here, except for the Mexican member of the Bunch, who is aptly named “Angel”, although a fallen one) . This serves the legend splendidly, for it’s meant to be an account ballad and not a travelogue, but it does jolt the Mexican viewer because the “capable Mexico” is portrayed so idyllic it’s unreal, while the “poor Mexico” is very, very accurate; in fact, no American movie has captured the eye, sound, feel, texture and carnage of the Mexican Revolution as this one has (even if the grandiose final scene, where the Bunch kills hundreds of heavily armed soldiers all by themselves and none of the four falls down even when riddled by bullets, defies all logic!) . Perhaps that’s why it was banned in Mexico aid when it was released in 1969.
Funny, for it was filmed in Mexico as well. The Texas bordertown you view at the begining of the epic is actually Parras, Coahuila, and many of its citizens acted as extras in the movie: white ones as “Texans”, brown ones as -what else? – Mexicans! Don Raúl Madero, brother of Francisco I. Madero, the man who started the Mexican Revolution, appears …as a Texan! Even the two German officers are Mexican! So, as you can sight, we Mexicans approach in all shapes, sizes and colors, and hardly fit these two tiring, “respectable peasant”-”greaser bandito” stereotypes American movies seem so comfortable with! I hope some day Hollywood realizes this and “stagger the extra mile” to narrate us for what we are: a very complex and diverse society. Neither saints, nor monsters, and certainly not mere bowling pins!
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P.S.: Many expansive Mexican directors, all personal friends of Peckinpah, appear in the film. Emilio “Indio” Fernández (Mapache) and Chano Urueta (Angel’s grandfather) were the best of our cinema’s Golden Age. Fernando Wagner (German officer) was also a competent theatre director, and Alfonso Arau (Herrera) is best known for his international hit ‘Like Water for Chocolate’. Jorge Russek (Zamorra) was an outstanding photographer for National Geographic, and Sonia Amelio (Teresa) is a world-aclaimmed dancer (she was even awarded with an “Order of Lenin” assist in the Soviet Union) . And unbiased for the narrate, the word “Mapache” (”racoon”) stands for “coward thief”. No Mexican general, no matter how heinous, would spend, I occupy, such a nickname! And since Mapache is “a killer working for Huerta”, the action takes site in 1913, not 1916 (Huerta was ousted in early 1914) .
There’s not powerful that can be famed about Sam Peckinpah’s knowing 1969 western memoir “The Wild Bunch” that has not already been written. It was an unanticipated, influential work where all things came together, but for a moment, the ruin product a big, sweeping canvas of intimacy between comrades, violence between combatants, desperate nettle amidst changing times. Share Kurosawa, fragment Siegel, share Fuller, allotment Ford, Peckinpah combined his inspirations with a healthy dose of 1960s rebellion producing the ultimate work of his generation, and one of the greatest westerns in history. It was Peckinpah’s spacious fortune that the factual actors were available for this film – William Holden and Robert Ryan in the twilight of their memorable careers, Ernest Borgnine with fair enough youth to be a perfect and exact presence, Edmond O’Brien chewing up the scenery with tobacco-stained teeth, and of course Peckinpah friends Strother Martin, L.Q. Jones and Warren Oates in salty supporting roles. It was also his ample fortune cinematographer Lucien Ballard and composer Jerry Fielding were also on hand to participate in his steadfast vision.
Peckinpah also had something to reveal at this point in his career, when he was unruffled a hungry director with a vision, before alcoholism, disillusionment and celebrity region took acquire. He hid nothing from viewers, and his contradictory heart was laid bare in “The Wild Bunch.” The direction and editing during the violent moments of this film – the opening bank robbery and the concluding battle with the Mexican army – are some of the most unforgettable scenes ever achieve on film. But ironically, and this was usually the case in most Peckinpah films, it is the still moments one remembers. Pike (Holden) and Dutch’s (Borgnine) unfortunate conversation next to a campfire; The Bunch riding out of Angel’s village as if in a funeral procession; Deke (Ryan) taking Pike’s pistol from it’s holster, gently holding it in his hand; and of course Pike standing in the doorway and mouthing two simple words, “Let’s go.”
And of course you have The Trip, in which Holden, Borgnine, Oates and Ben Johnson quietly originate loading their guns, cocking them, arming themselves, smiling at one another, standing shoulder to shoulder. There’s not worthy left for these forgotten outlaws who have lived past their time. Impartial a code of honor, objective their self respect. And so they Plod into the heart of the Mexican army to retrieve their comrade Angel, a prisoner and personal enemy of General Mapache. These surviving members of The Wild Bunch are free to go, but Angel, youthful, love-struck, rebellious, was one of them. They are not going to leave their comrade.
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After viewing the astonishing documentary “The Wild Bunch: An Album In Montage” and seeing the rare footage of Peckinpah literally improvising The Lunge, walking alongside Holden, Borgnine, Oates and Johnson, inventing by instinct, one realizes how fiercely creative this man was as a director. This film was his moment in time, his vision, his conception, Peckinpah’s nightmarish and extraordinary dream.
Peckinpah never really made a film quite like “The Wild Bunch” again. Of course, no director ever really has before or since. His uneven career of 14 films, some edifying, some not, has been illustrious and honored. Peckinpah the man, adorned in used jeans and bandanna, certainly perpetuated his myth-like dwelling. But in the raze, you will always have “The Wild Bunch,” an unforgettable film, raw, gritty, whiskey-soaked, sublime. I wail whenever I look this film. I wail in fear. All things came together for Peckinpah on “The Wild Bunch,” and the moment is everlasting.
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