I wouldn't have it any other way
We can’t do justice to this great movie in a short blogpost. It would need a whole book. And indeed books have been written on it. For example:
Regular readers of this blog (both of them) will know in what high regard I hold Holden as a Western actor. TheMan from Colorado, Streets of Laredo, Escape from Fort Bravo, The Horse Soldiers, Alvarez Kelly, Wild Rovers, there wasn't a bad performance among them.
Ryan too was outstanding. The Naked Spur, Bad Day at Black Rock, The Professionals, Hour of the Gun, grief, he could even rescue a junker like Lawman. These were two magnificent Western actors and The Wild Bunch was them at their very best.
I have often had cause to refer to him in these e-pages and his long career, from bit-part actor and stunt double in early 40s oaters through those great Ford cavalry Westerns. Superb in Shane, he rescued Brando’s turgid One-Eyed Jacks (out-acting Brando by miles) and he was towering in Cheyenne Autumn, Major Dundee, Will Penny and Junior Bonner. 74 Westerns in all. Whether the picture was good, bad or indifferent, Ben Johnson raised it. He was the archetypal Westerner, utterly convincing and a very fine actor. We definitely need a separate post on him (but then we do on so many actors. Cur tempus sic fugit?)
As for the lesser parts, the acting is outstanding: just follow Strother Martin (Coffer) and LQ Jones (T.C.) through the movie. For me, after Holden and Ryan, the laurels go to Edmond O’Brien (Sykes) and the larger-than-life Emilio Fernandez (General Mapache). But you can’t forget the performances of Warren Oates (Lyle Gorch, Ben Johnson’s brother). So many of these players were in 1969, appropriately, old Western troupers towards the end of their careers. But there isn’t a bad actor here.
What many people think of first when talking about The Wild Bunch is the blood. Even now, after all these years and all these viewings, the stunts and the almost cartoon violence shock. At the time it was jaw-dropping. I will never forget the moment in the movie theater (I was 21) when I first saw what Mapache did to Angel. But the violence is balletic, terrible, beautiful, abstract. Technically stunning with brilliant editing (Lou Lombardo), the (then) unprecedented blood and death scenes still have a power to awe.
The Oscar-nominated Jerry Fielding music is dark and brooding, atonal clarinets over the gushing blood. Weird but wonderful. The photography by Lucien Ballard (left) is very fine.
The climactic gun battle took 12 days to film, used 90,000 blank rounds and 10,000 squibs and the movie cost $6m, a huge sum then. The IMDb ‘trivia’ page is 2,481 words long and most of it isn’t trivial at all. Check it out.
The Walon Green/Roy Sickner/Peckinpah screenplay is masterly. The direction by Sam Peckinpah is of course great, inspired: original and powerful. This was his finest hour.
The film is elegiac, moving, stirring, exciting and beautiful by turns.
Actually, come to think about it, there’s nothing wrong with this movie. “I wouldn’t have it any other way”.