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Pat Garrett and Billy the Kid (Two-Disc Special Edition)


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Product Details

  • Actors: James Coburn, Kris Kristofferson, Jason Robards, Katy Jurado, Bob Dylan
  • Directors: Sam Peckinpah
  • Producers: Gordon Carroll
  • Format: Multiple Formats, Closed-captioned, Color, NTSC, Special Edition, Subtitled, Widescreen
  • Language: English (Dolby Digital 1.0)
  • Subtitles: English, Spanish, French
  • Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  • Aspect Ratio: 2.40:1
  • Number of discs: 2
  • Rated: R (Restricted)
  • Studio: Warner Home Video
  • DVD Release Date: May 23, 2006
  • Run Time: 115 minutes
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (178 customer reviews)
  • ASIN: B000BT96DC
  • Amazon Best Sellers Rank: #23,936 in Movies & TV (See Top 100 in Movies & TV)
  • Learn more about "Pat Garrett and Billy the Kid (Two-Disc Special Edition)" on IMDb

Special Features

  • Disc One: 2005 Special Edition (115 mins.)
  • Commentary by Special Edition Producer Nick Redman, Supervising Editor Paul Seydor and fellow Peckinpah biographers/documentarians Garner Simmons and David Weddle
  • Peckinpah trailer gallery
  • English 1.0, French 1.0
  • Disc 2: 1988 Turner Preview Version (122 mins.)
  • Commentary by Nick Redman, Paul Seydor, Garner Simmons and David Weddle
  • 2 new featurettes:
  • One Foot in the Groove: Remembering Sam Peckinpah and Other Things
  • One for the Money: Sam's Song
  • English 1.0

Editorial Reviews

Product Description

Pat Garrett & Billy the Kid: Special Edition (Dbl DVD)

Amazon.com

Pat Garrett & Billy the Kid may be the most beautiful and ambitious film that Sam Peckinpah ever made. The time is 1881. Powerful interests want New Mexico tamed for their brand of progress, and Sheriff Pat Garrett (James Coburn) is commissioned to rid the territory of his old gunfighting comrades. He serves fair notice to William Bonney--Billy the Kid (Kris Kristofferson)--and his Fort Sumter cronies, but it's not in their nature, or his, to go quietly. Peckinpah's theme, more than ever, is the closing of the frontier and the nature of the loss that that entails. But this time his vision takes him beyond genre convention, beyond history and legend, to the bleeding heart of myth--and surely of himself.

This is one strange and original movie. In 1973 most American reviewers responded by panning it and deriding its director, whom they saw as having betrayed the promise of Ride the High Country, been swept up in his own cult of violence, and become incoherent as a storyteller. Coherence wasn't helped by MGM's cutting at least a quarter-of-an-hour out of the finished film and removing a bitter, retrospective prelude. Subsequent releases have restored a lot of material, and now there's more widespread appreciation of the depth and power of Peckinpah's achievement.

The cast, teeming with fine character actors, is extraordinary, making the gallery of frontier denizens vivid and resonant. Coburn's Garrett, a man who comes to loathe himself for his mission yet cannot abandon it, is the high-water mark of the actor's career. L.Q. Jones, Luke Askew, Harry Dean Stanton, Jack Elam, and Richard Bright create indelible moments, and Slim Pickens becomes the center of an unforgettably moving scene. The presence of Kristofferson (just starting out as an actor) and Bob Dylan (whose enigmatic role is nearly wordless) nudges us toward recognizing Old West outlawry as an early form of rock stardom--flesh-and-blood gods for a primitive society to feed on. --Richard T. Jameson

Customer Reviews

Good movie, great cast.
Gina Beatty
Once again, we have a movie where the main characters are bad guys, even though society considers some of them good guys.
elvistcob@lvcm.com
Secondly, the film's dialogue is simply extraordinary.
Amazon Customer

Most Helpful Customer Reviews

57 of 61 people found the following review helpful By Raimundo de Berg on June 8, 2006
Format: DVD
There seems to be a lasting discussion, or even a consensus, about why this movie is flawed in one way or the other and worse than the Wild Bunch, especially amongst US audience. A discussion I frankly can't quite follow even though it is belabored at considerable length in the commentary tracks. The issue apparently also motivated Mr. Seydor to throw together a so called 'special edition' with scenes taken from either the Turner version or the theatrical release, in an attempt to produce a version he feels Sam Peckinpah might had been striving for, given the troubled production circumstances. This 'special edition' is the one version coming with this package, and if you are like me you might consider this wasted space, as at least I'm not at all interested in what Mr. Seydor feels might be great. The idleness of this whole attempt is mirrored in the commentary tracks, where most of the time is wasted with repeated explanations about what a directors cut and a fine cut are, why the theatrical release is more of the latter and the directors cut is flawed in various respects etcetera etcetera, in an obvious, lengthy and tiresome attempt to justify that very 'special edition'. Thoroughly painful to listen to, and I had rather watched the theatrical release and judged for myself. Something Mr. Seydor and his production staff apparently think I am resp. we are not able to, or else they simply would have included the theatrical release and spared us their cut.

That said, the other version coming with this package is the Turner version, also known as the director's cut, and it's a blessing this version is finally available on DVD. In spite of all the blabber about supposed flaws this movie is a true classic.
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165 of 186 people found the following review helpful By Amazon Customer on September 13, 2004
Format: VHS Tape
Movies, especially genre pieces, are rarely unique; so one has to look at this film as a magnificent achievement, if only for its extraordinary originality and the manner in which it achieves that originality without demolishing the Western genre. Unlike Sergio Leone, who signaled his love of the genre even as he deconstructed it; PAT GARRETT AND BILLY THE KID seems to spontaneously erupt out of Peckinpah's unconcious. I don't think he ever made a film before or after which speaks so effortlessly and so beautifully in the voice of its author. The result is a Western which is not only unlike any other Western ever made, but completely unlike any other film ever made, including Peckinpah's own.

Firstly, this film moves in an entirely unique manner, avoiding the three-act structure of the conventional film in favor of a cyclical arc which inexorably propels the film towards its violent climax. The film, quite literally, ends where it begins, both chronologically and geographically. Secondly, the film's dialogue is simply extraordinary. Screenwriter Rudy Wurlitzer (most probably in collaboration with Peckinpah) invents a patois which, for all intents and purposes, amounts to an artificial period dialect. The film essentially invents its own language. This, combined with John Coquillon's bleached-tan cinematography, creates a world so self contained that one begins to understand how its inexorable forces push against its characters, rendering them helpless before their fates.

This is also, without question, a masterpiece of acting on the part of James Coburn. His performance ranks with John Wayne's Ethan Edwards in THE SEARCHERS as a towering pice of film acting.
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25 of 29 people found the following review helpful By Jules on March 14, 2000
Format: VHS Tape
...in fact it's my personal favorite. Slow and majestic, yet gritty and tough with plenty to say about how the times were/are a-changin' (there's certainly parallels to be drawn with Peckinpah and the studio system). This director's cut is an improvement in many ways over the studio-butchered original, but, sadly, we do lose the scene where Slim Pickens' character dies to the soundtrack of Dylan's "Knockin' on Heaven's Door". A pity.
Dylan, by the way, gives an enjoyably eccentric (Chaplinesque?) performance, but the real stars here are Kristofferson and Coburn (which, as they're playing the title roles, is as it should be). Both are first class.
Highlights include the Kid singing to the townsfolk of Lincoln after he's tricked the guards, and the scene where Garrett makes Alias read out the labels of a whole shelf of canned goods. And the inevitable finale still manages to be wonderful cinema.
"What you want and what you get are two different things!" - Well, Peckinpah certainly found that out when the film was first released, but this cut is something else. Rent or buy as soon as you can.
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24 of 28 people found the following review helpful By Joseph H Pierre on June 7, 2000
Format: VHS Tape
This is the Director's Cut, which they tell me is far better than the movie which was released. I don't know, because I never saw the version that was released theatrically. But, this one is very good!

They say that 16 minutes of the Director's Cut was taken out of the released version. I'll take their word for it..

Kris Kristofferson plays Billy, James Coburn plays sheriff Pat Garrett, and, in the best role I've ever seen him in (in fact, I've never seen him in anything else, come to think of it), Bob Dylan plays a character who recurs throughout the movie, called 'Alias,' who is very handy with a knife.

The theme is that the West is changing, and there is no room anymore for the wild, carefree violence and the gunslinging cattle wars. Law and order have taken over at last. Garrett sees the trend of the future, and changes, becoming the sheriff. Billy refuses, maintaining his old ways, with the predictable result.

History aside (any resemblance to actual historical events is purely coincidental) this is a great movie.

I particularly liked the scene in which Jack Elam, who had crossed the Kid, meets his doom. They are on neutral ground, eating dinner in a mutual friend's ranchhouse, and it is obvious that they will have to shoot it out after dinner. Jack Elam, with a doleful expression, asks for "another piece of that fried pie." In the face-off which follows dinnner, knowing that the Kid is faster, instead of waiting for the count of ten to turn and fire, Elam turns early, only to be shot by the Kid...who had anticipated the move, and turned earlier still.

This is a good one. I loved it. Probably you will, too.

Joseph Pierre,
Author of THE ROAD TO DAMASCUS: Our Journey Through Eternity
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