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The Wild Bunch movie review & film summary () | Roger Ebert

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Peter Brunette. Jackson, Mississippi: University Press of Mississippi, 29— Kitses, Jim.

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Macklin, F. Jackson, Mississippi: University Press of Mississippi, — Medjuck, Joe. Jackson, Mississippi: University Press of Mississippi, 19— Murray, Gabrielle. Accessed 2 April Murray, William. Typically, Ballard used six cameras for action sequences, each running at a different speed. To capture images at real time, a Mitchell or Panavision camera operated at twenty-four frames per second.

To achieve slow motion, a cinematographer would run the film through the camera at a faster rate. Ballard had his cameras set at variety of frames-per-second rates: 30, 60, 90, even Cameras were sometimes modified to allow them to achieve fast run rates, but even then, they would have to crank through yards and yards of lm before they hit the increased speed needed.

The Wild Bunch 1969

The dailies that came back from L. Ballard the cinematic alchemist and Peckinpah had conducted tests with film-stock exposures with the goal of achieving a slight sepia cast to the images without diminishing the color palette. Ballard had succeeded. The effect gave The Wild Bunch a hint of being something of a relic.

ISBN 13: 9780809318636

Miles and miles of film were shot each week. In Burbank, Warners vice president Edward S. And the yellowness was fantastic. It was as if you could feel the heat coming off the film. This is genius, whoever did this. It looks like the heat is coming off the ground. Feldman realized that Warner Bros. And he brought that quality to the picture.

Peckinpah and his crew were providing Ballard plenty of gold to capture on lm. Gordon Dawson was in full pit-bull attack mode as he and his crew churned out the costuming needed for each sequence. Who knew what Peckinpah would ask of him? James Dannaldson, who transported the ants on the plane while seated next to Coleman, stood around six feet eight inches.

With Anglo faces in short supply in Parras, Sam decided he wanted Dannaldson to appear in front of the camera as—well, how about a banker? But Dawson sorted through all the clothes hanging on the hundreds of yards of piping and came up with something that would work. Early on, Sam decided that he wanted Strother Martin, playing the bounty hunter Coffer, to look like a version of a Hells Angel.

It was up to Dawson to figure it out. He rushed into a trailer and furiously began to dig around until he found a rosary, never paying any attention to the crowd of curious locals, most if not all of whom were devout Catholics, who had gathered to observe what the yanqui movie man was up to. Dawson grabbed some needle-nosed pliers and tore the tiny crucified Jesus from the rosary cross and tossed it onto the sidewalk outside the trailer door. He then wired a rifle cartridge onto the cross in place of Jesus.

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He turned to leave the trailer and saw the crowd of Mexicans, mouths agape, starring at him as if he were Lucifer himself. The bullet cross hanging from rosary beads became a signature prop for The Wild Bunch. The costumes ran the gamut from then-contemporary knickers and newsboy hats for small boys to traditional cowboy attire.

He had to outfit American soldiers in campaign hats with cavalry cords and Mexican federal troops as well. He had to come up with wardrobe for Anglo townspeople as well as Mexican villagers and revolutionaries. He was charged with telling a story through wardrobe. Along with a newsboy cap, Jones wore an automobile driving coat that hung down to his knees, making it almost seem as if he were wearing a dress of some sort. Martin wore a filthy, battered narrow-brim hat with a wide hatband, a style with twentieth century stamped all over it, as if to say that he represents the depravity of new times.

He explained the contradiction: The movie camera was not the product of technology but rather a gift from the gods. Peckinpah certainly wanted to push the theme of the evil that awaited mankind in the age of technology. There was no small irony here. He believed that technology suffocated the elemental humanity of people, that it was purely malevolent, trumpeted by conservatives of the ilk of Richard Nixon, whom Peckinpah loathed.

I remember my college mentor, an English professor who embraced many left-wing tenets, telling us in class one day that we all had an ethical obligation to go home that day and use a shotgun to blast the screens of our TVs. Peckinpah would have applauded that kind of sentiment even as he worked in cinema, the most technologically driven of all creative media of his day.

In this he was not unlike the aging members of the Wild Bunch gang, cowboys ill at ease with the modern era who nonetheless seemed to value such technological advancements as the Colt M semiautomatic pistol, pump shotguns, machine guns, and hand grenades. They no doubt likewise considered such things to be gifts from the gods.

About The Wild Bunch

In depicting the technological evils sprouting up in the early twentieth century, Peckinpah introduced a few anachronisms. Other anachronisms beyond the guns appeared here and there. At the time, Peckinpah was making a picture he assumed would be seen only on the big screen, with few people taking it in more than once or twice. It was of no great consequence if Sam filmed Old Man Sykes being shot in the right leg and then he showed up at the end of the film with what might be a bandage on his left leg.

The water in the swollen river flows left to right. Anytime you leave Texas and enter Mexico, the Rio Grande below you will run from right to left as the river makes its way from New Mexico to the Gulf of Mexico. Holden watched as Peckinpah directed the two actors, nudging them to put more and more into their performances. It clicked then with Holden that this was not going to be just another cowboy picture. He arose from his chair and began to walk away.