It stands to reason that Sam Pechinpah's greatest, most personal movie would embody perhaps like no other work of art an almost suicidal romantic-nihilist vision of a terminal outlaw ethos good for nobody. Warren Oates is my favourite actor to ever slum in American movies. In ALFREDO he plays a variation on the Peckinpah persona; a seedy dude, sure, but hardly born for the conflagration what subsumes him.
My first Peckinpah was Straw Dogs..... Needless to say, I wasn't quite ready for Bloody Sam. So after a couple of trips to my nearest psychologist who helped me forget that life scarring experience, I reluctantly watched this masterpiece. Screw Michael Medved. 50 Worst films my ass. This is the weirdest love triangle. Keep your SUNRISE or DAYS OF HEAVEN and bring me the head of BRING ME THE HEAD OF ALFREDO GARCIA
Geografía humana de desamparados que se mezcla en una (otra) geografía de aridez polvorienta que penetra por todos los poros. En el contexto de los límites, no parece haber moral que reste y todo vale dinero y nada vale la vida. Aunque, por supuesto, Peckinpah entiende tanto a estos hombres que hacia el final la venganza es siempre un plato mas sabroso cuando se sirve frío. Dato extra: Warren Oates con antejos de sol
"Fifty or a hundred years from now people will be looking back on that film the way we look back on Faulkner today. Professors used to get fired or denied tenure for arguing that Faulkner was a great writer; today he's recognised as one of the greatest American writers. People will look back on us and wonder why we failed to understand 'Alfredo Garcia'." Paul Seydor
As dark as Peckinpah's own notions of life. This man's tarnished soul is reflected by a superb Warren Oates, his misogyny, a hopeless "Hobbesian" view of society, but also a strong honor code that always leads his characters to attain lost honor by suicidal glory. The raw facade conceals noble motifs, never more evidently than his feelings for the prostitute, Elita. Bloody Sam's most personal, and one of his best.
One of the most, if not the most, personal films of Sam Peckinpah. The Peckinpahian hero is rotten but he can demonstrate amazing qualities when he's under pressure. Like killing half a dozen of trained hitmen, American or Mexican, saying "I love you" to a prostitute and wanting to marry her in a church, dressed in white I suppose, and eating cold frijoles. Highly recommended.
The most personal and least studio-tampered with of Peckinpah's career of anti-optimistic and defeatedly-humanistic, doomed-macho statements. It's a film in which many scenes are memorable for some idea or emotional reason or another, despite many of them being either unneeded or feeling awkward in its flow. Still, it bursts with creativity for a grim affair right to the final shootout that's Peckinpah at his usual.
This is the work of pure alcoholic genius. This is also the performance of Warren Oates career as he mirrors the image of Sam Peckinpah and shoots his way through a gothic looking Mexico. Perhaps Peckinpah's darkest and most disturbing film.