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Cinema Retro (Read 7818 times)
Novecento
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Re: Cinema Retro
Reply #6 - 05/09/14 at 11:24pm
 
Seems like the new issue of Cinema Retro is going to have the following Peckinpah article:

Analyzing Sam Peckinpah's crime classic "Bring Me the Head of Alfredo Garcia".

Mike - does this have anything to do with you?
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mike bishop
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Re: Cinema Retro
Reply #7 - 05/10/14 at 3:03am
 
you bet Smiley
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Robert Blenheim
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Re: Cinema Retro
Reply #8 - 05/11/14 at 1:08pm
 
I can't wait!  I have the Cinema Retro issues on Getaway and Straw Dogs.  Are there any more Peckinpah issues in the past?   And when is the new issue due to be available?
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Gashade
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Re: Cinema Retro
Reply #9 - 05/11/14 at 8:27pm
 
Issue 3 has 17 pages on Peckinpah by Mike Siegel. It is the most complete thing they've done about him so far. If you don't have it, pick it up, it's well worth it, and they have a few last copies available.
Issue 7 has an interview with Mitch Brower, the producer of The Getaway, and a piece by Mike Siegel about Peckinpah events in Italy and Israel.
Issue 8 has a nice still from The Wild Bunch and a short piece about Jeff Slater's book "Entered his house justified", with a picture of Sam and a topless Isela Vega from the set of Bring me the head of Alfredo Garcia.
Issue 10 has a 1,5 pages piece by Jeff about scenes from Straw Dogs that didn't make it in the final cut, including the one that ended up on the poster artwork where David threatens the village men in the pub with a rifle. It also has a short piece on Susan George, and The Wild Bunch is included in the top ten best films from 1969.
Issue 14 has the second part of an interview with Ernest Borgnine where he speaks about The Wild Bunch.
Issue 15 has a very short piece about Mike Siegel's documentary "Passion and poetry".
Issue 16 has the third part of an interview with James Caan where he talks about The Killer Elite. It also has an interview with Norman Jewison who took over The Cincinnati Kid from Sam, where Sam is only briefly mentionned.
Issue 26 has a 12 page piece by Mike Siegel on Straw Dogs. The Wild Bunch's score is also a topic in this same issue.
Issue 29 has a 2 pages piece by Mike about Bring me the head of Alfredo Garcia.
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« Last Edit: 05/21/14 at 7:09pm by Gashade »  
 
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Novecento
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Re: Cinema Retro
Reply #10 - 05/12/14 at 10:21pm
 
Thanks so much for the detailed breakdown.

How much details does Caan go into on the Killer Elite in issue 16?
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Gashade
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Re: Cinema Retro
Reply #11 - 05/21/14 at 7:02pm
 
Novecento wrote on 05/12/14 at 10:21pm:
Thanks so much for the detailed breakdown.
How much details does Caan go into on the Killer Elite in issue 16?


Not so much, actually. Here it is:

As a thriller, The Killer Elite works quite well today. It's got a calibre of cast a film producer now could only dream about getting - Caan, Robert Duvall, Burt Young, Bo Hopkins, Gig Young, Mako - a great, if quirky, Jerry Fielding score. And yet, although a considerable hit at the time, it was thought of as lightweight for a Peckinpah film. In truth he was compromised by many factors, not least of which were his own personal demons of drink and drugs, but also because studio chief Mike Medavoy, who was trying to keep a tight leash on his unpredictable director, wanted a mass appeal picture and therefore needed a PG rating for the picture to sell. The initial script, with a secret cadre of black-ops paid assassins entering into a twisting internecine tale of betrayal and revenge, was a fairly straightforward thriller with some in-vogue martial arts sequences to attract the Bruce Lee crowd. However, once the production began, and the suits were at arms length, things began to fall apart, starting with the script, which was more or less abandonned.

At the film's core was the friendship that existed between two of these elite killers, Locken (Caan) and Hansen (Duvall). Their interplay in the opening stages of the film are among the best scenes in it, and the easy camaraderie was not scripted, but sprang from real life incidents. "Me and Bobby, well, for instance, something would happen the night before, my brother would pull some prank at the Hilton or something, and I'd tell Sam, and he's like, 'Tell it to Bobby! Say it like it happened!' And that'd end up in the script! Peckinpah was insane. He'd disappear for days at a time. Sam was just... Sam. He couldn't give a fuck less..."

In fact, it's a miracle the film hangs together as well as it does. In its execution, it seems to constantly be poking fun at itself, with hugely unlikely set-ups, including Burt Young taking on - succesfully - highly trained ninjas whilst exchanging quips with Caan who himself manages to despatch said highly-trained men whilst balancing on a cane. Peckinpah seems willfully to be showing disdain for the material, even though he badly needed a commercial hit to match The Getaway after a couple of brilliant but poorly performing films (Pat Garrett and Billy the Kid (1973, and Bring Me the Head of Alfredo Garcia (1974)). Everyone seems to be confused, even when they're not supposed to be, and the entire script seems improvised, but not in a good way. Still, it manages to get by on star power alone, and even bad 70s thrillers are light years ahead of most made today.
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« Last Edit: 05/21/14 at 7:06pm by Gashade »  
 
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