This was written in 1990 for a film series called “Myth of the West” at the Henry Art Gallery in Seattle. As a program note, it’s a brief introduction to Ride the High Country; its references to Peckinpah beginning to fade from film history are even keener now that it’s been over a quarter-century since his death. – Robert Horton
John Ford made something like 125 films in his fifty-year career in Hollywood, and in that time he created a cohesive, wholecloth world, especially in films of the American West. Sam Peckinpah worked in feature films from The Deadly Companions (1961) to The Osterman Weekend (1983); a dozen or so films, as well as television beginning in the late 1950sâ€”a little over twenty years of work. Yet Peckinpah’s legacy is as rich as any modern director’s, and as unmistakable; you always know when you’re watching a Peckinpah movie. And Peckinpah did his most important work in the Western.
But it may be more appropriate to say that Peckinpah made end-of-the-Westerns. His Western films are poised at the moment of death, the passing of one life, one era, to another (maybe that’s why he used slow-motion to show his characters getting killedâ€”he was saving, examining that final moment). The Wild Bunch (1969) is one long last gasp; the American West is disappearing, to the extent that the outlaw heroes must go to Mexico, where they find a brief glimpse of Eden. Pat Garrett and Billy the Kid (1973) is explicitly constructed as an American folk ballad (Kris Kristofferson and Bob Dylan are among the actors), the stanzas of which describe two old friends who used to live a wild, wide-open life. Now, one of them has joined the side of the law, and has betrayed the other for the sake of employment and civilization. In The Ballad of Cable Hogue (1970), the hero, a man who has a waterhole in the middle of nowhere, is killed byâ€¦ a motorcar.