Sergio Leone Web Board
Films of Sergio Leone => Other Films => Topic started by: Rblondie on May 16, 2003, 10:52:59 AM
-
My favorite non-spaghetti western is The Wild Bunch (1969). Sam Peckinpah along with Leone, Kubrick, and Orson Welles' films require multiiple viewings because of their complexities. People who often dismiss Peckinaph as just a "blood and guts alcoholic director" do not understand that in his films, the violence is very raw and nothing to laugh at. His stories are always character driven and require alot of thought. And to this day, no one has ever directed and edited action sequences any better. The people who like the modern dumb*** action pictures of today would certainly disagree.
-
Without a doubt, my favorite non-Eastwood western is The Wild Bunch. The only other Pechinpah directed movie I've seen is Straw Dogs. I've always liked that one as well. A very interesting role for Dustin Hoffman.
-
Peckinpah's other well made films:
Ride the High Country (1962)
Ballad of Cable Hogue (1970)
The Getaway (1972)
Junior Bonner (1972)
Pat Garret and Billy the Kid (1973) the 121 minute version
Bring Me the Head of Alfredo Garcia (1974)
Cross of Iron (1977) one of the greatest war films
-
The Osteman Weekend is extremely underated as well, check it out.
-
The getaway is wonderful, from a good novel by Jim thompson.
the couple Ali/Steve is magic , good actions, suspense, fight
one of the best Peckinpah
-
In My Name is Nobody, there is a funny scene where Hill is looking at an indian's grave marked as 'SAMPECKINPAH', lol.
-
GRAZIE, iL Brono, GRAZIE !!
once again. you live up to your name ! 8)
kermit
-
I hope you mean I live up to il 'buono', not il 'brono' ;)
-
At least he didn't say Il stronzo, lol.
-
:P
-
Cross of Iron is one of the great war movies of all time. A great James Coburn and a great Maximilian Schell.
-
My favorite non-spaghetti western is The Wild Bunch (1969). Sam Peckinpah along with Leone, Kubrick, and Orson Welles' films require multiiple viewings because of their complexities. People who often dismiss Peckinaph as just a "blood and guts alcoholic director" do not understand that in his films, the violence is very raw and nothing to laugh at. His stories are always character driven and require alot of thought. And to this day, no one has ever directed and edited action sequences any better. The people who like the modern dumb*** action pictures of today would certainly disagree.
It required multiple viewings, so that's what I gave it. My most well-worn DVD, bar none. What does anyone think of the inclusions of scenes not originally seen in the film. I think that viewed several times, these flashback's tend to slow the pace, and maybe it was wise to originally delete them.
-
Good old Sam, we love him, my precioussss. ;)
The Wild Bunch is probably the best American western - in my list OUTITW and TWB are the No. 1. Divided. ;D
Let' go.
-
FLASHBACKS: Oh no, they're essential.
The film could also be called THE PIKE BISHOP STORY, as he is the centre. Through the back story, flashbacks and talk about the past - by the bunch as well as Thornton, Peckinpah deepens his character to make his last move, LET'S GO, justified: Bishop's life is a collection of defeats. Thornton gets caught (because 'being sure is' Bishop's business), he let's Crazy Lee die - a relative of the oldest Bunch member, people die for nothing (SILVER RINGS) at San Rafael/Starbuck, the woman he loved got killed because he was careless... The final straw is Angel. Bishop gave the o.k. that he could take a case of rifles for the indios. Now Mapache has him in his hands. For Bishop that is the final straw - one more defeat would be too much.
The less we know about him, the more it becomes a simple action piece. Which Peckinpah's films never are, always character driven. The Mapache scene was extremely important too: it is the only scene that shows him 'at work', in battle. Otherwise he would be nothing than a drunk Mexican.
Guys, we have a lot of Peckinpah-related threads here. Shouldn't we use just one?? I get confused.
-
FLASHBACKS: Oh no, they're essential.
The film could also be called THE PIKE BISHOP STORY, as he is the centre. Through the back story, flashbacks and talk about the past - by the bunch as well as Thornton, Peckinpah deepens his character to make his last move, LET'S GO, justified: Bishop's life is a collection of defeats. Thornton gets caught (because 'being sure is' Bishop's business), he let's Crazy Lee die - a relative of the oldest Bunch member, people die for nothing (SILVER RINGS) at San Rafael/Starbuck, the woman he loved got killed because he was careless... The final straw is Angel. Bishop gave the o.k. that he could take a case of rifles for the indios. Now Mapache has him in his hands. For Bishop that is the final straw - one more defeat would be too much.
The less we know about him, the more it becomes a simple action piece. Which Peckinpah's films never are, always character driven. The Mapache scene was extremely important too: it is the only scene that shows him 'at work', in battle. Otherwise he would be nothing than a drunk Mexican.
Guys, we have a lot of Peckinpah-related threads here. Shouldn't we use just one?? I get confused.
Don't get confused! Get Happy! This is the best non-Leone topic going. I did like the Mapache scenes added in to flesh him out. But some of the flashbacks were almost repetitve in things we had already deduced. Pike thinking of Crazy Lee was unnecessary for we had already seen it. The DVDs should be presented in both versions, in case we just want a simple actioner that night.
-
Mapache is a great character. He's not only a villain, he's an individuality. And what a face... ;)
-
Mapache is a great character. He's not only a villain, he's an individuality. And what a face... ;)
And the actor portraying him, one of the most revered directors of Mexico.
-
And the actor portraying him, one of the most revered directors of Mexico.
According to David Weddle's biography, he lived in a castle full of 13 year old girls. What a bizarre and disturbing image.
-
According to David Weddle's biography, he lived in a castle full of 13 year old girls. What a bizarre and disturbing image.
Actually, that's not that big a deal in third world countries, but Emilio Fernandez having sex with anyone would be disturbing!
-
Of all the great people in my Peckinpah-film, Biographer Garner Simmons gave me my favorite line (talking about Emilio Fernandez): '...he killed a critic over a bad review...'
-
Of all the great people in my Peckinpah-film, Biographer Garner Simmons gave me my favorite line (talking about Emilio Fernandez): '...he killed a critic over a bad review...'
;D ;D ;D
-
;D ;D ;D
This is pretty funny! ;D
-
;D ;D ;D
This is pretty funny! ;D
Yes, I learned from the master! ;D
-
Of all the great people in my Peckinpah-film, Biographer Garner Simmons gave me my favorite line (talking about Emilio Fernandez): '...he killed a critic over a bad review...'
So, Mike, do you have any biographical tidbits to share on this guy? My memory is hazy on this, but wasn't he the titular Alfredo Garcia's head? Haven't seen it in a long time.
-
pooh, he had a long life...
I spent some time in his homestate of Coaxial/Mexico, where Peckinpah shot THE WILD BUNCH. Fernandez grew up in midst the last part of the revolution, fought on the 'losers' side and fled the country to avoid a long term prison sentence. He went to LA (smart) and worked as a bit player as I understand. After an amnesty he worked himself up in the golden age of Mexican cinema. He made dozens of films, I only saw the famous LA PERLA (P.Armendariz). He worked a lot with G.Figuera, great camera man! (shot some US-films as well, as TWO MULES...)
Whenever the Americans shot in Mexico, they had to use a Mexico 'Co-director', to make sure, Mexicans didn't appear in a bad light. John Ford shot THE FUGITIVE in 1947 in Mexico and sort of became Emilio's 'Patron'. The same happened (the other way around), when Peckinpah shot MAJOR DUNDEE. They liked each other immediately.
At first Peckinpah didn't think of Emilio as Mapache. He first asked Mario Adorf (at least he told me that, and he is an honest man). Adorf had not liked his experience on DUNDEE much, the way the crew was treated for ex. He told me an interesting story about (buuh) Jerry Bresler, who later 'destroyed' the film by re-cutting it very badly: there was an old camera operator who tended to sleep sometimes on his crane between takes. It was very hot and he had no protection against the heat. Bresler noticed it one day and pointed his finger at him. The next day he was gone. (Peckinpah is always credited to fire the crew-members, maybe he learned from Bresler :)). Then the local Mexicans invited cast & crew for a big feast. They were poor people but nevertheless slaughtered a cow for the guests. But when Adorf arrived at the meeting point, only Ben Johnson was there. Nobody cared. Adorf was terribly ashamed for his 'fellow Gringos'.
Anyway, the main reason why he didn't want to play MAPACHE was the fact, that he played Mexicans in Euro-Westerns before too often. Adorf took a deep look at me and said: 'It was wrong I turned him down, was it?' (Thank god he never saw my favorite film, so he'll never know what he missed :)).
Fernandez & Peckinpah always teamed up when Sam was in town: PAT GARRETT, ALFREDO GARCIA. Together with Isela Vega they even formed a company in Mexico. Which never worked out ('Sam wasn't very good with money. Neither was Emilio. Nor I...' Another great woman).
-
So, Mike, what about this guy on my signature? Who was he? Has he been in anything else?
-
You make this great signature and don't know Alfonso Arau ? ???
Another actor turned director. I saw him in EL TOPO, ROMANCING THE STONE & POSSE (K.Douglas western) and some US TV westerns.
In 92 he directed his first bigger film, LIKE WATER FOR CHOCOLATE. Rodriguez shot EL MARIACHI in the same area that time and the bathtub in which the Mariachi has his encouter with the letter-opener was on loan from Arau's set...
I forgot about the Keanu Reeves/Tony Quinn film, WALK IN THE CLOUDS (?).. Another one was PICKING UP THE PIECES (W.Allen starred), it's on my shelf but I haven't seen it yet.
Arau played a nice part in THREE AMIGOS, which contained a lot of THE WILD BUNCH refererences/hommages...
'CUT THE FUUUSE...'
-
You make this great signature and don't know Alfonso Arau ? ???
'CUT THE FUUUSE...'
Contrary to popular opinion, I don't know everything, and am proud to admit it! ;D I didn't even know much about SL's repetory actor's until I joined. Have heard Arau's name, but didn't put him with the face. He is more talented than I would have gave him credit for. I guess you can't judge a book.... My ex-girlfriend made me watch Chocolate. It gave me some good cooking tips. Anyway anything you can tell us about these guys(excluding Ryan, Jones and Martin):(http://i206.photobucket.com/albums/bb167/manwithnodame/wild_bunch.jpg)
-
Right.
Here's Paul Harper (standing in front of Ryan). He played occasionally, but not much. I remember CULPEPPER CATTLE COMPANY and recently CHARLES MANSON STORY (or words like that).
(http://pic20.picturetrail.com/VOL1612/7186524/16445514/260188097.jpg)
I talked to him twice, 'wanted to film him for PASSION & POETRY. But he seems to be a bit of a weirdo. We made an appointment at his place (almost looks like a shack, nice though, somewhere around Burbank as I remember. )
We waited for two hours in front of his house, he never showed up.
What's interesting about him is the fact that he took AWESOME stills during the shooting of THE WILD BUNCH with his RolleiFlex. If you watch AN ALBUM IN MONTAGE, Seydor's great doc, you'll see Harper horsing around with his camera when they're shooting the bridge scene. I heard that in LA is/was a gun-shop that displayed some of these stills. I did get some (not from him) and cherish them. Here's one:
(http://pic20.picturetrail.com/VOL1612/7186524/16445514/260188965.jpg)
-
He was especially memorable with those teeth. Anything about the others?
-
The guy between Ryan & L.Q. is Bill Hart. He is a well-known stuntman. IMDB lists his films for sure. I can only remember he was in GETAWAY as well. But he worked as stuntman/co-ordinator on many great films such as MACLINTOCK!, ESCAPE FROM NEW YORK, the last two McQueen's and PAT GARRETT/GETAWAY for Peckinpah. Here's a rare shot: Bill is doubling for Ben Johnson!
(http://pic20.picturetrail.com/VOL1612/7186524/16445514/260224769.jpg)
The other three guys I do not know. Shame, since it is my favorite film. I have quite an archive on Peckinpah, but nothing on those guys. Or it didn't come to my eyes yet :)
-
The guy between Ryan & L.Q. is Bill Hart. He is a well-known stuntman. IMDB lists his films for sure. I can only remember he was in GETAWAY as well. But he worked as stuntman/co-ordinator on many great films such as MACLINTOCK!, ESCAPE FROM NEW YORK, the last two McQueen's and PAT GARRETT/GETAWAY for Peckinpah. Here's a rare shot: Bill is doubling for Ben Johnson!
(http://pic20.picturetrail.com/VOL1612/7186524/16445514/260224769.jpg)
The other three guys I do not know. Shame, since it is my favorite film. I have quite an archive on Peckinpah, but nothing on those guys. Or it didn't come to my eyes yet :)
Good research, Mike! O0 What about the actor who played Angel? Also, didn't you mention contact with Ernest Borgnine. To what extent, and what are your views of this Hollywood legend? He always struck me as very outgoing and gregarious, despite his gruffer film roles.
-
The guy between Ryan & L.Q. is Bill Hart. He is a well-known stuntman. IMDB lists his films for sure. I can only remember he was in GETAWAY as well. But he worked as stuntman/co-ordinator on many great films such as MACLINTOCK!, ESCAPE FROM NEW YORK, the last two McQueen's and PAT GARRETT/GETAWAY for Peckinpah. Here's a rare shot: Bill is doubling for Ben Johnson!
(http://pic20.picturetrail.com/VOL1612/7186524/16445514/260224769.jpg)
The other three guys I do not know. Shame, since it is my favorite film. I have quite an archive on Peckinpah, but nothing on those guys. Or it didn't come to my eyes yet :)
Bill Hart was Jess the Bounty Hunter, right?
-
This is the new SE, out tomorrow, in case anybody cares:
(http://pic20.picturetrail.com/VOL1612/7186524/16445514/264862167.jpg)
-
I've only seen Straw Dogs, which was a real great movie.
-
This thread over at HTF is kinda interesting: http://www.hometheaterforum.com/htf/showthread.php?t=259134
-
This is the new SE, out tomorrow, in case anybody cares:
(http://pic20.picturetrail.com/VOL1612/7186524/16445514/264862167.jpg)
Thanks for posting mike siegel! I'll be picking that up eventually.
-
Thanks for posting mike siegel!
You ought to be thankin' him for making it! ;D
-
Someone using the handle Richard--W has posted this over at the HTF board (see link above). It's a very handy guide to keeping all the versions of PG&BtK straight.
Let's review all the versions of PAT GARRETT AND BILLY THE KID.
1. Theatrical Release 1973:
James Aubrey, the rapacious head of MGM, wanted a quickie western to make some fast money for the ailing studio. He forced Sam Peckinpah and his editing team to rush the post-production process, preventing Peckinpah from completing his version. Aubrey also forced Peckinpah to cut key dramatic scenes and do extensive trimming throughout. Important and substantial footage was cut, including an opening and close in which Pat Garrett is assassinated, and Pat Garrett's visit to his wife. Alternative master shots were used instead of coverage (which would have taken more time to edit).
Although badly compromised, the timing and pacing is Peckinpah's. The resulting l06 minutes favored action over character and ambiance, but it looked, sounded and felt spectacular when it was released to cinemas 23 May 1973. The aesthetics of the film blew audiences and critics away. People who saw this version in the cinemas have never been able to forget it.
The popularity of the soundtrack album -- a first for a Peckinpah
film -- and the hit single "Knockin' On Heaven's Door" -- another first for a Peckinpah film -- boosted the film's box-office immensely.
The Theatrical Release also circulated to libraries, movie clubs and museums on 16mm in full-screen, although I understand these prints have been withdrawn from circulation now.
MGM put the Theatrical Release on a pan-and-scan full-screen VHS in 1984 in an over-sized cardboard box with a gatefold cover that faithfully reproduced the poster art. It's now out of print. No Peckinpah fan should be without it.
2. Peckinpah's Workprint 1972-1973:
The director made a rough assembly that never completed the editing or post-production phases. Many sound effects are missing, dialog is out of balance, and there is a temporary score to indicate where music would goes when sound editing and scoring are completed. Some scenes are incomplete, other scenes are nearly complete, and other scenes are just raw footage. Beginnings and endings aren't trimmed, where to put certain shots isn't decided, and the duration of individual shots and sequences isn't fully worked out. But all the footage Peckinpah intended to include in the movie is organized in this Workprint.
According to the Peckinpah Posse, more than one dupe or copy of this Workprint exists. The copy which Peckinpah screened at lectures and for students has the scene in which Pat Garrett visits his wife and a written legend to conclude the story at the end titles. The other copy, which got aired on the Z channel and released on home video, inexplicably omitted both pieces.
Peckinpah's Workprint has also been known as the Z Channel Version, the Preview Cut, The Turner Preview Version, the Director's Cut, and the 1988 Turner Version. All these terms refer to Peckinpah's Workprint.
MGM/Turner released Peckinpah's Workprint on a VHS in full screen and on a laser-disc in widescreen in 1988. Both are out-of-print but still obtainable from used sources like ebay etc. In 2005, Warner Home Video re-released this same Workprint as a supplement in a Special Edition two-disc DVD set.
It is important to note here that Peckinpah's Workprint was inaccurately identified as a Director's Cut on the laser disc. This has created a misunderstanding. It is not a Director's Cut. But it would have become the Director's Cut if the director had finished it.
Repeated viewings of Peckinpah's Workprint on home video have caused fans to re-evaluate the Theatrical Release as well as #4, below.
3. Various Television Versions 1979:
The violence, aggression, and sexuality of the Theatrical Release had to be toned down for network and cable airings in the late 1970s and 1980s. The networks cut so much time from the Theatrical Release that they had to take substitute footage from a copy of the Workprint. Before the Workprint was actually released, Peckinpah fans got a hint of what it contained by videotaping television broadcasts which combined both versions in various
ways at various times. So far as I've been able to ascertain, if you have #1 Theatrical Release and #2 Peckinpah's Workprint, you have everything that was in the Various Television Versions.
4. Seydor's Version 2005:
Film editor and Peckinpah biographer/collector Paul Seydor enjoyed the full co-operation of Warner Brothers and MGM in creating his new version of PAT GARRETT AND BILLY THE KID for DVD. He had access to all the footage, all the elements, all the different versions. He also had the added advantages of both a personal acquaintance with Sam Peckinpah before the director died and a lifetime's study of Peckinpah's films.
The WHV / MGM special edition DVD release of PAT GARRETT AND BILLY THE KID is indispensable. It contains Seydor's new version of the film as well as a slightly deteriorated Peckinpah's Workprint on disc 2. Many viewers, after getting to know Peckinpah's Workprint, express dissatisfaction with the Seydor Version.
Seydor's Version has also replaced the Theatrical Release and Peckinpah's Workprint for repertory screenings and festivals. In fact it screens tonight at the Albuquerque Museum.
-
The guy who asked me about DVD's for Peckinpah's TV-films...
Please write me again, I deleted your message---
-
Wow, this guy has made a website for The Deadly Companions: http://www.users.qwest.net/~aknot/companions.htm
-
Savant on the Finnish (!) DVD of The Deadly Companions: http://www.dvdtalk.com/dvdsavant/s2371dead.html
(remember, there is a Japanese disc available, of comparable quality, so it is possible to get the film in NTSC).
-
The first time i saw The Wild Bunch i loved but now its nearly IMPOSSIBLE to actually view the movie in its entirity.
-
The first time i saw The Wild Bunch i loved but now its nearly IMPOSSIBLE to actually view the movie in its entirity.
Wow, blasphemy!!! ;D
I could watch "The Wild Bunch" once a week. That's how much I love it. The whole film is fantastic with countless great scenes.
-
I've only seen a few Peckinpah movies, but he seems like a veru interesting filmmaker so I'm planning to watch more of his movies in the near future.
The ones I've seen are The Getaway, Straw Dogs, Cross of Iron, Bring Me the Head of Alfredo Garcia and Pat Garret &Billy The Kid.
I saw the Getaway a long time ago and recall that I liked it although not as much as most people.
Straw Dogs quite frankly annoyed me, I didn't like any of the characters except for maybe the wife because I felt sorry for her, I even kinda hated Dustin Hoffman in this movie. That said I don't really think it's a bad movie because it raises a lot of good questions, I think I'll give it another shot someday and see if I like it better, maybe I'll rent both Straw Dogs and Home Alone as it seems they have a lot in common.
When I saw Cross of Iron I must not have been paying close attention to it or my mind was on something else, I don't really know what I thought of it so I'll put that in the pile of movies I need to watch again.
I loved Bring Me The Head Of Alfredo Garcia, I loved it's sick sense of humour in particular. The scenes with Warren Oates talking to Alfredo Garcia's severed head were pure gold ;D !
Pat Garrett & Billy the Kid is the only Peckinpah-movie I own and a large part of the reason I bought it was because of the great Bob Dylan, who gives the funniest performance ever in this flick. I liked parts of Pat Garrett & Billy the Kid very much, such as the beginning (first half hour or so is really good), the end and the scene in the bar with James Coburn and Bob Dylan reading random stuff on shelves (best scene in the whole movie)! But some parts really dragged and it was like the movie never really took off.
I want to see more Peckinpah movies but so far these are the only ones I've seen.
-
I loved Bring Me The Head Of Alfredo Garcia, I loved it's sick sense of humour in particular. The scenes with Warren Oates talking to Alfredo Garcia's severed head were pure gold !
I think this is a masterpiece, too. O0
-
The scenes with Warren Oates talking to Alfredo Garcia's severed head were pure gold ;D
No doubt the inspiration for the Tarantino-directed sequence in Sin City.
-
Blu-ray news:
Warner Home Video have announced several catalogue titles on US Blu-ray this July. Their double-feature range expands on the 6th with five new offerings - Dr. Giggles & Otis, Funny Farm & Spies Like Us, The Getaway (1972) & The Getaway (1994), Last Boy Scout & Last Man Standing and Practical Magic & The Witches of Eastwick. The only set with any listed extras is The Getaway double-feature which offers the following content:
* Commentary by Peckinpah Biographers/Documentarians Nick Redman, Paul Seydor,
Garner Simmons and David Weddle
* “Virtual” Reel 1 Commentary by Steve McQueen, Ali MacGraw and Sam Peckinpah
* New Featurette Main Title 1M1 Jerry Fielding, Sam Peckinpah and The Getaway
* Reel 4 Bank Robbery Sequence with Alternate Jerry Fielding Score
* Audio-Only Bonus: Alternate Jerry Fielding Score
* Sam Peckinpah Movie Trailer Gallery
-
http://www.cinemaretro.com/index.php?/archives/48-ENTERED-HIS-HOUSE-JUSTIFIED-THE-MAKING-OF-THE-FILMS-OF-SAM-PECKINPAH.html#extended
-
I was just reading the book in my Criterion BD of "Battle of Algiers". There is an interview with Franco Solinas where it is mentioned that he had written a screenplay for Peckinpah called "Life is like a train, like a train".
Does anyone know anything more about this? Mike have you ever come across it?
I found a brief mention of it in here (http://books.google.com/books?id=g2WluH1AAR0C&pg=PA126&lpg=PA126&dq=%22life+is+like+a+train%22+peckinpah&source=bl&ots=_zhEWo5DXf&sig=hpSYYEiaw-dfi7XC0BEJkxortRI&hl=en&ei=3tjETt7BNJO-gAe9v738Dg&sa=X&oi=book_result&ct=result&resnum=1&ved=0CBoQ6AEwAA#v=onepage&q=%22life%20is%20like%20a%20train%22%20peckinpah&f=false) via an internet search.
-
No, not really. I checked my 32 books on Sam - not one single reference I could find. Maybe I overlooked something. I have many Italian magazines on him, but couldn't find the time to go through all of them.
But his US biographers did not really research in Europe, that was one of the reasons why I wanted to do a special edition on CROSS OF IRON, an important film treated badly from a filmhistorical point of view.
Sam spend some time in Italy and met a lot of people. After he was fired from CONVOY he left for Italy and acted in two films. From then on he spent most of his time writing and re-writing screenplays, hoping to get a (good) project off the ground. He sided with Milius, Jim Silke, Stephen King .. why not Solinas..
-
No, not really. I checked my 32 books on Sam - not one single reference I could find. Maybe I overlooked something. I have many Italian magazines on him, but couldn't find the time to go through all of them.
I guess it never went anywhere at all then.
But his US biographers did not really research in Europe, that was one of the reasons why I wanted to do a special edition on CROSS OF IRON, an important film treated badly from a filmhistorical point of view.
At least the new BD release finally did it justice - both in terms of the quality of the restoration and your documentary.
-
I was just reading the book in my Criterion BD of "Battle of Algiers". There is an interview with Franco Solinas where it is mentioned that he had written a screenplay for Peckinpah called "Life is like a train, like a train".
Does anyone know anything more about this? Mike have you ever come across it?
I found a brief mention of it in here (http://books.google.com/books?id=g2WluH1AAR0C&pg=PA126&lpg=PA126&dq=%22life+is+like+a+train%22+peckinpah&source=bl&ots=_zhEWo5DXf&sig=hpSYYEiaw-dfi7XC0BEJkxortRI&hl=en&ei=3tjETt7BNJO-gAe9v738Dg&sa=X&oi=book_result&ct=result&resnum=1&ved=0CBoQ6AEwAA#v=onepage&q=%22life%20is%20like%20a%20train%22%20peckinpah&f=false) via an internet search.
Here`s another mention (last paragraph here http://www.nybooks.com/blogs/nyrblog/2012/jun/01/when-westerns-were-un-american/ ):
Still, Peckinpah commissioned Solinas to write a screenplay known in English as Life is Like a Train that was never produced and save for a few stray references seems to have been lost to history.
-
Stumbled across this Sam Peckinpah special issue on-line (it takes a while to load):
http://www.parallax-view.us/MovietoneNews/MTN60-61.pdf
By the way, it seems there is a project underway to upload all the old issues on to the internet:
http://parallax-view.org/movietone-news/
-
It is Sam's 90th birthday today. Considering that he was unofficially blacklisted for over seven years, he only spent 15 years making feature films. What a remarkable impact his rather short career had and still has in film making. Of the 14 films that he made at least four to eight turned out to become classic masterpieces (depends on who you ask). The world will always remember his art. This year sees at least three new books on him published, a retrospective at Locarno Film Festival and my own PASSION & POETRY is on TV in France and Japan (released also on Blu-ray in Japan!), I also just helped co-producing the upcoming Kino Lorber US Blu-ray for CONVOY and my uncut interview with Senta Berger (PASSION & POETRY - SENTA & SAM) will also be released later this year. HAPPY BIRTHDAY SAM!
(http://pic90.picturetrail.com/VOL2205/12662154/22649568/410867103.jpg)
-
Sounds great.
This year sees at least three new books on him published
I know of the new Seydor one on PG&BTK (I'm currently reading that) and the Max Evans one. Which is the third one? It's not your updated Japanese version of your Passion & Poetry book is it? That would be really great!
... my uncut interview with Senta Berger (PASSION & POETRY - SENTA & SAM) will also be released later this year.
Nice. Where's that appearing?
-
This year sees at least three new books on him published, a retrospective at Locarno Film Festival and my own PASSION & POETRY is on TV in France and Japan (released also on Blu-ray in Japan!), I also just helped co-producing the upcoming Kino Lorber US Blu-ray for CONVOY and my uncut interview with Senta Berger (PASSION & POETRY - SENTA & SAM) will also be released later this year. HAPPY BIRTHDAY SAM!
And congratulations to you, Mr. Siegel!
Does the US Convoy differ in any meaningful way from the UK one? (I mean, I don't have to buy it again, do I?)
Looking forward to SENTA & SAM!
-
It is Sam's 90th birthday today. Considering that he was unofficially blacklisted for over seven years, he only spent 15 years making feature films. What a remarkable impact his rather short career had and still has in film making. Of the 14 films that he made at least four to eight turned out to become classic masterpieces (depends on who you ask). The world will always remember his art. This year sees at least three new books on him published, a retrospective at Locarno Film Festival and my own PASSION & POETRY is on TV in France and Japan (released also on Blu-ray in Japan!), I also just helped co-producing the upcoming Kino Lorber US Blu-ray for CONVOY and my uncut interview with Senta Berger (PASSION & POETRY - SENTA & SAM) will also be released later this year. HAPPY BIRTHDAY SAM!
O0 O0 O0
-
https://www.youtube.com/watch?v=quT0SLvqQLY (https://www.youtube.com/watch?v=quT0SLvqQLY)
Great interview from around the time Cross of Iron came out. Note how Peckinpah's more interested in the coffee than any of the interviewer's questions.
-
And congratulations to you, Mr. Siegel!
Does the US Convoy differ in any meaningful way from the UK one? (I mean, I don't have to buy it again, do I?)
Looking forward to SENTA & SAM!
Thanks Dave!
As for CONVOY: well, from now on new releases including my supplements won't have to work with 4:3 SD masters anylonger.
I made new 1:1,78 (deinterlaced) HD masters of all my documentaries. First time presented now on this release.
Also the KINO LORBER CONVOY features a new audio-commentary by my US colleagues...
-
Mike, know anything about this upcoming release? http://www.amazon.com/The-Osterman-Weekend-Blu-ray/dp/B00UJH1SF0?
-
http://www.dvdbeaver.com/film5/blu-ray_reviews_67/the_osterman_weekend_blu-ray.htm
No Passion & Poetry? WTH?
-
Where's the director's cut gone that was on the second disc of the DVD set?
-
i always thought that feature length doc on Osterman covered that title enough. i concentrated more on the films that needed me :). like Garcia. Cross. Convoy..
-
Peckinpah completists need to watch this: https://rarefilmm.com/2023/02/the-lady-is-my-wife-1967/
And they need to watch it now.
Glenn Erickson has some comments on the show here: https://trailersfromhell.com/the-lady-is-my-wife/
-
Thanks for sharing. Will definitely check it out.
-
Thanks from me too. Great ...
A good film with some interesting stuff. Contains a slo mo scene (with no violence) and a totally surprising rapid cut shoot-out nobody else did in these days. And a bizzare billiard play on horseback.
I liked it more than Noon Wine, for which I did not really understand the praise it got.
If one is interested in the other TV stuff Peckinpah did between The Deadly Companions and TWB, you can find on Youtube also Mon petit chou (1961, with Lee Marvin, George Maharis and Macha Meril), The Losers (1962 with Lee Marvin and Keenan Wynn) and a b/w version of Noon Wine (1966, with Jason Robards and Olivia de Havilland). So only Pericles on 31st Street (1962) is still missing. All 5 run about 50 min.
The other 15 earlier TV series episodes he directed all run only 25 min.
-
If one is interested in the other TV stuff Peckinpah did between The Deadly Companions and TWB, you can find on Youtube also Mon petit chou (1961, with Lee Marvin, George Maharis and Macha Meril)
Thanks for reminding me about this one. I watched it 14 months ago:
Route 66 - "Mon Petit Chou" (11/24/61) - 6/10. Guests Lee Marvin (!) Macha Meril (!!) and Bert Remsen (!!!). The Pittsburg Hilton. Chanson. A funicular car trolley. Fisticuffs. "The lions are eating up all the prophets." Stirling Silliphant. Directed by Sam Peckinpah. https://www.youtube.com/watch?v=xEKs_CSt_sk&t=34s
I'll have to check out "The Losers."
-
The Losers (a perfect Peckinpah title) is The Westerner 2.0., with Marvin and Wynn taking over the roles and names of Brian Keith and John Dehner, but it is now set in the modern west, so it's a post western. But it follows the more comedic episodes of The Westerner, which Peckinpah directed himself as well as the darkest episodes.
-
PERICLES ON 31st STREET I really like. I have a very good copy, maybe I find a way to upload it...
-
Mike do you have meanwhile every TV movie which Peckinpah directed?