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on 1 June 2006
Warren Oates, in a career best performance, unravels magnificently down Mexico way in Peckinpah's criminally underrated nouveau gothic masterpiece. This film is gradually coming into it's own, initially marginalised in the scheme of the director's work it is now reappraised as one of his major achievements. Weird romanticism, shattering violence, morbid subject matter, all combine to make it a unique cinematic experience. The obvious signpost to the progressively nihilistic tone of the movie is given earlier on when Gig Young is asked for his name by Bennie (Warren Oates). He replies "Dobbs. Fred C. Dobbs." The name is that of the Humphrey Bogart character in John Huston's classic "The Treasure of The Sierra Madre." Bogart's character was driven mad by greed in that movie, in his futile search for an elusive treasure. Peckinpah's vision encompasses many of the same themes, yet is far darker. As Oates' character spirals into psychosis during his journey through the searing and filthy Mexican badlands, he maintains a fractured, rambling dialogue with the decaying, severed head of Alfredo and coldly guns down those who get in his way.

Bennie is a loser, a pianist in a dead end bar, cuckolded by the woman he loves who got it on with Alfredo (a friend of Bennie's), broke and living in squalor, he perceives obtaining the severed head of his dead friend as a way out. This is his "golden fleece," a passport to a better life. In the process of digging up the body, his girl is murdered and Bennie's personality disintegrates. As he pumps bullet after bullet into the corpse of one of the hoods who whacked his chick, he spits: "Why? Because it feels so damn good!" The role is one that Warren Oates was made for. Seldom a leading man in Hollywood, his history of character parts provide him with the experience needed to invest Bennie with the complex traits of a complete anti-hero. Each tic, each mannerism, the almost improvised quality of his dialogue delivery, results in a totally believable performance.

Although many believe that Peckinpah's direction here is "messy and unfocussed" on reflection it seems more of a deliberate ploy to accentuate the nightmarish quality of the narrative. Bennie swigs Tequila almost constantly throughout the movie, and very often - combined with the obligatory slow motion violence and gunplay - the result is as if the audience is viewing the action through the languorous gaze of a drunk. Or maybe that's just my imagination running away with me. Or my own alcohol intake.

This is probably Peckinpah's most personal film, and his last masterpiece, and as such is one of the most original pieces of mainstream cinema ever produced. If you like Tarantino and Rodriguez, this movie will give a sense of where some of their roots are. Ultimately, a journey into the heart of darkness that makes Apocalypse Now seem like a paddle through Disneyland.
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on 19 January 2017
Bring me the Head of Alfredo Garcia 1974 Directed by Sam Peckinpah, Starring Warren Oates, Isela Vega, Robert Webber and Gig Young. Arrow 2 disc Blu-ray released: January 23rd 2017.
Attending a film festival in the mid-seventies, Sam Peckinpah was once questioned about his films, it was in respect of how the studios regularly bastardised his vision, his intension and more specifically, if he would ever be able to make a ''pure Peckinpah'' picture. He replied, '’I did 'Alfredo Garcia' and I did it exactly the way I wanted to. Good or bad, like it or not, that was my film.''
The overall narrative for Alfredo Garcia is neither complicated nor convoluted. Warren Oates plays Bennie, a simple pianist residing in a squalid barroom in Mexico. He is approached by two no-nonsense Americans (Robert Webber and Gig Young) who are attempting to track down Alfredo Garcia. The womanising Garcia is the man responsible for the pregnancy of Theresa (Janine Maldonado) the teenage daughter of a powerful Mexican boss El Jefe (Emilio Fernández). In a display of power, El Jefe offers $1,000,000 for the delivery of Garcia’s head. Bennie is unaware of the true bounty, but fully aware that his girlfriend, local prostitute Elita (Isela Vega) was once involved with Garcia. More importantly, Bennie also knows that Garcia is in fact, already dead. Bennie recognises this as a way out, a one off payday opportunity and convinces Elita to take him to Garcia’s burial place. His plan is to dig up the body, cut off the head and collect on his fee, an agreed $10,000. Elita shows some hesitancy, and before long the heavy drinking, paranoiac aspects of Bennie begin to suspect that Elita still carries feelings for the dead Garcia. After an arduous and testing car journey they both finally reach their destination, a place where their plans will take a devastating and unsuspecting twist.
Arrow has delivered a new 4K restoration from the original camera negative. The overall image is beautifully presented and a great deal cleaner than previously seen. Dirt, debris and all other manner of light wear have now been removed. As Arrow points out, there are some minor instances of density fluctuation and photochemical damage, but these really are minor. I noticed slight fluctuations during the torture of Theresa, but this is arguably due to the condition of the original film elements and to be expected. More importantly it does not distract from the overall presentation of the film. One could even suggest that such minor defects are perfectly suited and in line with the gritty, sweat soaked ambience that Peckinpah arguably sought to present. The 4K scan has been fully justified and as a result the level of detail has been greatly improved without ever compromising or hampering the genuine celluloid look – an element so essential to a movie such as Alfredo Garcia. Colours retain a realistic and natural quality, almost dry and dusty as opposed to a sun drenched and over cooked. Thankfully, Arrow has also resisted the temptation to beef up the audio, so don’t go looking for a falsely created 5.1 mix. Alfredo Garcia was recorded in mono, so purists will be delighted with the original 1.0 mono mix transferred from the original 35mm single stripe magnetic track. The audio elements are also clean, dynamic and hold a consistent level of clarity throughout.
Heading the extras on disc one are two excellent audio commentaries. The first is a new and exclusively recorded commentary by Stephen Prince, author of Savage Cinema: Sam Peckinpah and the Rise of Ultraviolent Movies. Prince’s narration looks closely at Peckinpah’s philosophy and theory. It’s a commentary that also examines the characters to some depth. It also encourages you to think and ask questions. There are also more generalised observations from Prince involving the story, in particular the scene with the two bikers (played by Kris Kristofferson and Donnie Fritts). It’s a scene which has always bothered me, and serves no real importance to the story. So it was pleasing to hear that Prince agrees, and that it provides very little - other than slowing down the pace and the narrative. I don’t mind either film philosophy or debate, but I occasionally believe it sometimes has a tendency to overstretch or loose itself in some strange form of self-consumption. Nevertheless, Prince’s commentary does keep your attention throughout and provides plenty of food for thought.
The second audio commentary is moderated by film historian Nick Redman and features Sam Peckinpah scholars Paul Seydor, Garner Simmons and David Weddle. This commentary first appeared on the Twilight Time Encore Edition Blu-ray and works extremely well. The advantage of course, is that it provides various different perspectives and viewpoints. For instance, on this occasion, the same Kristofferson and Fritts biker scene results in a clear difference of opinion. We, the viewer are offered a perfectly logical and justified reasoning for this scene, in that Bennie is provided with the opportunity ‘walk the walk’ rather than just ‘talk the talk’. The implication of the scene, along with a contrasting perspective of its inclusion, suddenly offers something new to digest and signifies perhaps a different level to Bennie’s character. Seydor, Simmons and Weddle are not afraid of arguing their opinions, but also retain a clear respect for each other’s knowledge and understanding. It’s a perfect ensemble of experts, each of whom is clearly on top of their subject.
Sam Peckinpah: Man of Iron is Paul Joyce’s feature-length (93minutes) 1993 documentary featuring interviews with James Coburn, Kris Kristofferson, Monte Hellman, Ali MacGraw, Jason Robards and many others. Its inclusion on Arrow’s special edition marks the first time it is available on home video in the UK. The documentary was released prior on Criterion’s Straw Dogs (1971) DVD release but omitted some film clips due to copyright and reduced the running time by some 10minutes. Man of Iron is a very personal and enjoyable reflection of the man and told by the people that knew him best. It is a brutally honest account which shows Peckinpah, not only for his craftsmanship, but also for his flaws, for which there were many. As gifted as Peckinpah was, there are also accounts of his cruelty, manipulation and his complexity. His demise into alcohol and later his cocaine use is arguably pitiful and reflected to some degree in his later films. Regardless of this, he remained loved by his friends, many of which returned to work with him over and over again. Whilst Man of Iron celebrates the man and his work, it never attempts to paper over the cracks or his personal frailties. It provides a well-balanced account and as a result, makes for fascinating viewing.
Next up is The John Player Lecture: Sam Peckinpah, an audio only recording of the director’s on-stage appearance at the National Film Theatre in London (47minutes). Whilst there is no indication, this recording possibly dates from around 1971. Peckinpah does make a reference to his next film to be released, The Ballad of Cable Hogue (1970) and because he is in the UK at this time may be an indication that he was in pre-production stages for his next film Straw Dogs (1971) which was shot in Cornwall. Peckinpah does sound a little uncomfortable in front of an audience and not entirely at ease. There is almost a sense of comfort knowing that his friend Warren Oates is sitting among the audience and on several occasions Peckinpah tries to draw him actively into the conversation. When questioned about certain aspects of his work, Peckinpah does at times seem a little reluctant to answer and the sighs picked up by his microphone appear to back this up. However, Peckinpah does reveal a great deal of insightful information, as well as taking the opportunity in criticising the film establishment, such as the censors and producers and in the way they have handled his work. Historically, it is an important piece to include; my only minor gripe is when it comes to the audience questions, which are at times close to inaudible. As the audio interview is carried out over a still image of Peckinpah, it might have been an idea to overlay some text in reference to the actual audience questions. In doing so it would have made it a great deal easier to decipher exactly what Peckinpah was referring to in his answers.
Kris Kristofferson songs, is a separate chapter which contains full versions of the 4 songs featured in the Man of Iron documentary – which is a nice touch. Rounding off the first disc is the original theatrical trailer for Bring me the Head of Alfredo Garcia. The trailer has also been beautifully cleaned up and has those vivid red titles practically bursting out from the screen.
Bonus Disc
Arrow has also provided an additional Blu-ray bonus disc as part of this special edition, and what a treat it is too. Sam Peckinpah: Man of Iron, The Directors Cut features an incredible collection of never-before-seen interviews with Peckinpah colleagues and contemporaries including Kris Kristofferson, James Coburn, Monte Hellman, L.Q. Jones, Alan Sharp, Katherine Haber and many more. It is basically all of the original interview material filmed for the Man of Iron documentary. This priceless material was thankfully preserved by Paul Joyce who also provides a new introduction and closing. There is also the bonus of a newly recorded interview with Peckinpah’s regularly featured actor David Warner. All of the interview footage (all 10 hours and 43 minutes of it) fell into the hands of Michael Brooke who has done a wonderful job of polishing and presenting the material over individual chapters. Brooke has intelligently edited the footage to remove clapperboards (except for the L.Q. Jones interview which became a running gag) and a few minor technical issues. To enhance each of the interviews further, Brooke has also overlaid posters and stills to fit in with relevant conversation pieces. There is also the advantage of hearing Paul Joyce’s questions (asked off camera) which help provide a cohesive, smooth continuity in context to the responses. As a result, we are provided with some nicely assembled, self-contained episodes, all of which are completely absorbing. In addition there is also the option of a new introduction to each of the interviews which are provided by Katherine Haber, arguably the woman who became closest to Peckinpah throughout the Seventies. Her extended interview from 1993 (lasting 51 minutes), is at times heart-breaking but nevertheless remains riveting. None of the interview material has to be watched in any particular order. However, the interview with Convoy (1978) producer Michael Deeley (the shortest at 10 minutes), serves as a great introduction and sets the overall tone rather nicely.
In Addition, Arrow has provided a very informative 43 page booklet, which includes a couple of in depth articles on Alfredo Garcia and an Interview with Warren Oates, both reprinted from the respected publication Film Comment magazine. Overall, it’s a pretty outstanding collection.
Region: B, Rating: 18, Duration: 112 mins, Language: English, Subtitles: English SDH, Aspect Ratio: 1.85:1, Audio: 1.0 Mono, Colour
Darren Allison, Cinema Retro Magazine
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on 21 May 2009
I wish that Werner Herzog had taken his hero Strozek down the path that Peckinpah takes Bennie. Strozek ends in the suicide of a life that harmed no-one but could not rise to face a bad, bad world. But here, Bennie, the main character, faces up to the appalling world he lives in (the bars of the mexican border with Texas)finally redeems himself through a great act of sacrifice.

A modern american tragedy "Bring me the head..." I think exemplifies personal hubris; the west gone mad through an orgy fueled by drugs, alcohol , greed and lust. Bennie's just a tiny speck of dirt and his only hope is the love of a prostitute, and well.... you can find out what he does with that.

Some say this is flawed - but I dont understand that - Peckinpah shows you what its like living in that world and in 2009 that world is all around us.

Despite the violence (tame by todays standards), at its heart the film is about the ROMANCE between Bennie (played to perfection by Warren Oates) and his girlfriend (Isela Vega).

WATCH!
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on 9 November 2006
Quite simply the most nihilistic film ever made but also one of the best ever made. This is truly Sam Peckinpah's masterpiece - the main character, Benny , played by the amazing Warren Oates at last given a great leading role is basically Peckinpah himself and Oates based his characterisation on him. Where else will you get a film where the lead character wears his sunglasses for practically half the film, where even though he has no redeeming qualities you still root for him at the end as his road journey leads him to the abyss of who he is. This is the only film I think where Peckinpah had little to no interference in making it, and boy does it show. I often wonder if the great man was alive today what kinda films he would have ended up making and what actors he would have worked with. If you like only one of Peckinpah's films, but haven't seen this, then trust me and buy it, it's a true master being let loose of studio chains and making a personal `up yours to the lot of you' style of film. Violent, funny, beautifully shot, downbeat and one of the greatest lead performances in the history of film by Warren Oates, it just doesn't get better than this
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on 14 February 2017
This limited edition blue ray set is an exceptional package. I started by watching disc two which is the most fascinating update of the full 'talking heads' documentary footage from 1992. I am not sure if it was 10 hours or 11.5 hours but the sum total of all the personal reflections left me with a fuller appreciation for Sam Peckingpah. My wife thought I was crazy but I enjoyed every minute and recommend it most highly. This is my all time favourite DVD/blue ray purchase and trust me, I have bought a lot! I had not seen this film since it was new in the cinema all those decades ago and I very much enjoyed it then and again now. I suggest watching the full documentary first as I appreciated the film even more after learning that Warren Oates based his performance of the main character on the real life Sam Peckingpah although the director never realised this and failed to recognise 'himself' on the screen which tells you something. The four live songs from Kris Kristofferson were also a treat. if you are considering buying this limited edition blue ray don't delay, it is truly fantastic in what it contains and also great value for money, buy it now.
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on 24 January 2017
Sam Peckinpah will always be a divisive name among cinephiles, and even the most dedicated of his fans have to concede that he made some outright stinkers, but he also delivered some of the greatest movies of his time. For my money, Bring Me The Head of Alfredo Garcia is his masterpiece, largely owing to the fact that it's the only film he made without the vitriolic studio conflict for which he is famous. Some people accuse BMTHOAG (and many of Peckinpah's other films) of being nihilistic, but I think it's clear here, more so than in any other of his movies, that Peckinpah's concern was with how people survive in a world which he saw as nihilistic. Warren Oates' Benny is one of the most tragic characters in Peckinpah's oeuvre, because he retains a fundamental decency in spite of his apparent efforts to be a cynic. His emergence as a good guy (of sorts) in the final moments of the film could not have the impact it does if Peckinpah's world were any less atrocious and overbearing. The action and violence for which Peckinpah is known is used sparsely but ferociously here, but what really makes BMTHOAG unique among his films is that this is the only time Peckinpah shows any dedicated interest in the male-female relationship. (I am not overlooking Cable Hogue or Straw Dogs, but Hogue's approach was much more whimsical, while Dogs' main concern was man's relationship to himself and his notion of manhood). Typically, the relationship in BMTHOAG is skewed, challenging and quite disturbing, but its aftertaste has a much more genuine ring of love conquering all than almost any other movie I can think of.

Arrow have done a great job with the video here, which was created from a new 4K scan. My only gripe, which at times becomes a major annoyance, is that it's heavily on the dark side. There are sequences in the film where whole areas of the shot disappear into blackness, and a cursory comparison with the earlier Twilight Time blu ray shows how much detail is actually being lost in these moments. Otherwise, detail and stability are stunning, and the colours, while a little softer than on Twilight Time's disc, are warm and realistic. What impressed me the most, doing a comparison, is how well Arrow have cleaned up the image. The Twilight Time disc was littered with scratches and marks, which actually became quite distracting at times. Arrow have removed almost all of the damage and the film looks completely natural and absolutely beautiful. I would rate it a perfect 5 were it not for the darkness, but I can't help the nagging feeling that it could have been just that little bit better.

Sadly the audio quality is a huge letdown. It's described as "original mono", by which they clearly mean exactly that. The sound is horribly limited and lacks any genuine dynamic range, and there are sections of dialogue which are completely unintelligible. Another cursory comparison with the TT disc reveals a staggering difference in quality, with TT besting Arrow by a country mile. Why Arrow could not have licensed the same soundtrack is a mystery, especially given the obvious efforts made to deliver such wonderful PQ.

It should be noted that subtitles are provided for all of the Spanish dialogue, which was not the case in my old MGM R1 DVD or (I think) on the TT disc. Personally, I always liked the ambiguity of not knowing exactly what's being said, but I also understand enough Spanish to be able to get the gist of things, which probably helps. The good news is that you can turn the subs off, which I did.

Extras wise, Arrow have thrown in Paul Joyce's terrific documentary, Man Of Iron, which was also included on Criterion's old DVD of Straw Dogs many years ago, but has never been available in Europe. As if that weren't enough, Arrow actually sought out Paul Joyce, who provided them with beta tapes of all of the original uncut interviews he conducted for the film, which are presented here in their entirety, at a running time of over ten hours. It would seem fair to assume that the bonus disc containing these interviews will be limited to the initial run, as per Arrow's usual MO. With this is mind, if you're salivating after reading this paragraph, go and pick up this release asap.

All told, the movie itself makes this release indispensable. The near perfect PQ is let down by the terribly sub-par AQ, but the extras package is a treasure trove of pure dope for Peckinpah fans.
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First of all, I agree with Gryphon X's review, I feel this is one of Sam Peckinpah's best films, right up there with Ride The High Country,The Wild Bunch,The Ballad Of Cable Hogue,Straw Dogs and Cross Of Iron. It's funny that he mentions 'The Treasure Of The Sierra Madre,' in one scene Warren Oates character (Benny) asks the hitman played by Gig Young "what's your name?" to which Gig replies "Fred C. Dobbs." There are many negative reviews of the film that are just plain ridiculous, I'm going to try to put them in perspective. I'll try not to give away too many SPOILERS, but it can't be totally helped......

1. "(it's) dull. There's so many scenes of characters just sitting around and talking..." Yes there are scenes of people talking to each other, some in Spanish. Even if their conversations are mundane they're in benefit to the plot and characters. If you find Shakespeare, Oscar Wilde, the films of Quentin Tarantino or My Dinner With Andre boring, then stick to action blockbusters......

2. "(There's a) sensitive rapist, who gets his feelings hurt and walks away from his victim only to have her walk after him and ask him to make love to her." There's a scene where Benny and his girlfriend Elita, who earlier in the film was shown to be a working prostitute, are camping for the night. This happens after a tender scene where he asks her to marry him which makes her very happy. Two bikers then come along, one decides to take her in the woods to rape her, while the other holds Benny at gunpoint (played by cult musician Donnie Fritts) who then taunts him by singing a lascivious rendition of the old blues standard "Jelly Jelly." She goes willingly figuring it's better to submit than have themselves killed. The rapist becomes impotent because she shows no fear and walks away, takes out his gun and sits down, as if deep in thought. She thinks he's deciding to killing them, so she says "No, don't" and starts to seduce him to keep anything bad from happening. The point becomes moot when her boyfriend gets the drop on the bad guys......

3. "...all Peckinpah spends his time doing is figuring out different ways to disrobe the female lead..." The lead actress (Isela Vega, who's great, btw) is shown topless twice in the whole picture, for a minute or two when she's in bed with her boyfriend and for a couple minutes after the rapist tears off her shirt. The rest of the time she's clothed......

4. "... if you watch this film, you'll see why Peckinpah had the final cut taken away from him on ALL (my highlight) his other films..." First of all, this film hasn't an ounce of "fat," every scene forwards the plot, and there are no continuity problems like the ones found in the arguably TWO films that were "taken away from him." Major Dundee was the only film actually taken away from him, Pat Garrett and Billy the Kid was butchered by the studio head after Peckinpah completed the film as revenge. Peckinpah's cut has been available for a long time and is considered one of his best films......

5. "...Benny decides that the hooker is worth killing for when the fact remains that she is just a hooker..." It's obvious from the get go that Benny and Elita, a third-rate musician and a hooker, are on the losing end of a town for losers. When Benny figures he can make enough money for both of them to leave he greedily takes the chance so they can get out of the life they're living. Because he loves a hooker she doesn't deserve his love? It's obvious that Benny loves her and while not to happy about her other affairs, he accepts her as she is. It's also implied that they never had an exclusive agreement between them until he asks her to marry him. I'd love to hear this person's opinion on minorities and gays. Self-righteous twaddle, you deserve to be homeless for a while to learn empathy......

6. "...the same, routine Sam Peckinpah film, filled with lots of blood, guts, bullets and slow-motion action...but will satisfy those who enjoy ultra-violence in their movies..." I didn't catch the so-called "guts," but there is violence, some of it slo-mo. In all of the film's 112 minute running time there is about ten minutes of violence, tops. As for the slo-mo, didn't people ever hear the saying "what took seconds seemed like hours?" I feel that Peckinpah uses slo-mo to depict how you would feel if you were in the same situation, you'd be asking yourself "is this ever going to end?"

7. "...another nihilistic film from Sam Peckinpah..." OK, once more, Benny loves Elita. He's found a chance for them to get out of their miserable lives and be happy. Bad things happen to them and his dreams are over. He decides to punish those who took away his dream. Nihilism is "a doctrine holding that all values are baseless and that nothing can be known or communicated." Benny doesn't do what he does in the film for nothing. Standing up for your principles and being true to yourself whether right or wrong is the main theme running through almost all of Peckinpah's films, not nihilism......

I'm not a Sam Peckinpah apologist. He made a few films that I thought were just OK ('The Getaway,' 'Junior Bonner') and a stinker or two ('The Killer Elite,' 'Convoy') but I'm surprised at some of 'Bring Me The Head Of Alfredo Garcia's' reviews. They make me wonder if I was watching the same movie, or if the reviewers had even watched the film. Maybe they caught a truncated or censored version on TV with commercials. After some reviews that I read, when I first watched it I expected to see a crazed Warren Oates with a bevy of topless women driving around with a rotting head in his car, covered in blood and mowing down everyone in his path. He does ride with the head for a very short while, with it becoming his Yorick. There's never anything exploitive about it, they never even show it's removal. The head is actually a stand in for Benny's shattered dreams, dreams cut off with no chance of returning. Benny's rampage is to cause those responsible to suffer the same fate. 'Bring Me The Head Of Alfredo Garcia" tells the universal story of people's dreams and length they'll go to make them come true, it's by turn dramatic and comic, but mostly heart-wrenching and heartbreaking. Warren Oates gives an Oscar-worthy performance as Benny. Forget the reviews, 'Bring Me The Head Of Alfredo Garcia' is an example of a filmmaker at his prime. Watch it with an open mind, you won't be disappointed......

One last thought, the hotel room where Benny goes to see the cronies of the kingpin ordering the hit on Alfredo immediately reminded me of the scenes with Dean Stockwell at the "This Is It" club in 'Blue Velvet.' I wonder if David Lynch was inspired by it, even subconsciously......
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on 6 May 2012
Since no one will likely buy the Blu-Ray unless they already know and like the movie, let me just say that this is a nice-looking Blu-Ray release from Suevia, which is not known for the quality of its typical DVD releases. There were only a couple of rough spots; for the most part, it was just like a theatrical presentation. Highly Recommended.
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on 14 February 2017
Had never seen it before but I found it totally gripping and will be watching it again. Very atmospheric.Has ultra-violent reputation but only by the standards of the day - present-day films are routinely vastly more violent.
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on 17 March 2008
A Sam Peckinpah film which was probably a bit maligned at the time of its release. I can remember a reviewer in the local Bournemouth free-sheet giving the film a panning. (Something about the director losing his OWN head.) Since then, "BMTHOAG" has grown in importance and is now viewed as being right up in the pantheon of great SP films.

It has a distinctly "un-glossy", almost "grunge-like" quality that must have seemed unusual at the time. Warren Oates is excellent, as he slowly goes off the rails and ends up becoming a sort of one-man Wild Bunch. Otherwise, the film features a bizarre cast. What are Robert Webber and Gig Young doing in there? Kris Kristofferson has a small cameo role, as do the guy who steals Doc McCoy's bag of money in "The Getaway" and the Generalissimo in "The Wild Bunch". I'm just left wondering if Ben Johnson, Bo Hopkins, LQ Jones, Slim Pickens or Strother Martin aren't lurking in the background, somewhere.

Seemingly a bit rambling and unfocussed in the first part of the film, "BMTHOAG" susequently develops into one of the vital Sam Peckinpahs.
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