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.
The composition and use of depth were impeccable but the rest of the movie was a bit lacking. Slow moving with stagnant character development. The set design was aesthetically pleasing and had a dirtiness that mirrored the main character and his actions. Nice jump cutting but the brief slow mo moments seemed out of place and forced. The layering of images is really what stands out as special.
Interesting piece of road movie, steered by a romantic tragedy subplot. Aside from occasional dead ends and a narrative loosely hanging above B-production pit, overall result is a constant Grim-Reaper-ish feeling framed into a sweaty, smelly setting of director's favorite filming location.
Yılına göre oldukça başarılı sahneler içeren, kült bir Sam Peckinpah filmi. Yapım, Meksika manzaraları eşliğinde bir yol filmi tadında. Yol filmleri suç türüyle de etkileşime girince ortaya daha da izlenilesi bir film çıkıyor kanımca. Ayriyeten de western tarzı başarılı çatışma sahneleriyle de '74 yılına göre çok kaliteli sekanslar mevcuttu. Tarantino'nun Peckinpah sinemasından etkilenişini haklı çıkaran bir yapım..
One of the most misunderstood movies of all time, Sam Peckinpah's reviled masterpiece was one of his last great films. Untouched by the studios, it was hated upon its release and still makes many "worst of" lists, but anyone familiar with Peckinpah's violent style will find poetic grittiness in every frame. Slowgoing but intense one the action begins, give it a try.
Sam Pekinpah's strange existential film - a Tarantino of its time, but with greater meaning. Here's a man who is swimming against the tide and struggling in a 70s world that he doesn't understand and can only intermittently cope with. Warren Oates plays the fall guy tasked with taking the head of his one time friend. His cream suit gets as dishevelled as his mental state as he keeps up the dialogue with Al Garcia.
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