The Wild Bunch (1969) is director Sam Peckinpah's vivid and provocative rendition of the west in the early 20th century. It is a remarkable film, both famed for bringing to screen one of the most vivid and visceral recreations of the dying west and for its intense portrayal of violence and brutality. Shot in widescreen, it is a dark and unrelenting tale of the 9 outlaws - the 'Wild Bunch' - united in friendship and in their fight against the vastly changing world around them. As they see the sun go down on their own way of life, changing technology and the industrial revolution is getting a firm grip on society and they see the dawn of a new west.
Other films of that period took a more anti-violence stance. Most notably is Butch Cassidy And The Sundance Kid (1969), which provided lighthearted action and adopted a more romanticised view of the American frontier. The Wild Bunch however is honest in its view on human nature and is not scared of the fact that people in society can sometimes be fascinated and attracted to violence. This theme is evident right from the outset. In the opening scene, two children are standing in the middle of the street while people around them are being shot. Their initial reaction is one of horror, but quickly they start watching the carnage, unable to turn away. Most notably though, is the final scene of the film, where the remaining members of the bunch are killed in a selfless and redemptive act. The entire scene is filmed as a slow motion dance - a grim but breathtaking rumination on the obliteration of human life. This can be likened to an act of god, for example the destroying of Pompeii or Sodom. Natural disasters undeniably cause immense destruction and pain, but are still beautiful in terms of scale and grandeur.
The bunch themselves are not crusaders or misunderstood 'cookie cutter' outlaws out to get revenge; they are very much out there for themselves. Although they claim to live by a strict code of camaraderie and honour "when you side with a man you stick with him!" we continually see how they are willing to do anything in order to save their own skin. Pike is a very intelligent but deeply troubled character who espouses the aforementioned code of loyalty, however he rarely follows through on it until the end of the film. His selfish actions continually come back to haunt him, and he eventually condemns his actions and decides the most selfless thing he can do is to go back for Angel in a completely humanitarian gesture of loyalty and solidarity. He is cleansed in his death and it serves as the ultimate refusal to be tamed, and the acceptance that his way of life is at an end. Not only does this provide catharsis for Pike but also serves as a profound statement on the mentality of the criminal mind. He would rather purge his conscience and remain true to the life he has led than become a restrained and condemned prisoner of society.
The fatal shot to Pike, delivered by a child, serves as an allegory for the death of the west as Pike knew it. The children of the new age of technology and industry are killing off the remnants of the ageing past. It also further illustrates the inherent bloodlust in society and the suggestion that if driven far enough, anyone is capable of some degree of violence a rather shocking truth that we are reminded of all too often in the news and media. The social commentary on human nature and its propensity for violence offered by "The Wild Bunch" still remains as relevant as ever.
Although the film won no Academy Awards (the academy rarely gives the nod to films containing high levels of violence despite being works of art Taxi Driver, Raging Bull, The Exorcist), it was nominated in two categories - for Jerry Fielding's original musical score and for the film's story and screenplay (a collaboration between Walon Green and Sam Peckinpah). The Wild bunch is also responsible for increasing the acceptance and tolerance level for violence on the screen. This lasting effect can be seen in more recent work by directors such as Martin Scorsese, Quentin Tarantino and many others.
Other films of that period took a more anti-violence stance. Most notably is Butch Cassidy And The Sundance Kid (1969), which provided lighthearted action and adopted a more romanticised view of the American frontier. The Wild Bunch however is honest in its view on human nature and is not scared of the fact that people in society can sometimes be fascinated and attracted to violence. This theme is evident right from the outset. In the opening scene, two children are standing in the middle of the street while people around them are being shot. Their initial reaction is one of horror, but quickly they start watching the carnage, unable to turn away. Most notably though, is the final scene of the film, where the remaining members of the bunch are killed in a selfless and redemptive act. The entire scene is filmed as a slow motion dance - a grim but breathtaking rumination on the obliteration of human life. This can be likened to an act of god, for example the destroying of Pompeii or Sodom. Natural disasters undeniably cause immense destruction and pain, but are still beautiful in terms of scale and grandeur.
The bunch themselves are not crusaders or misunderstood 'cookie cutter' outlaws out to get revenge; they are very much out there for themselves. Although they claim to live by a strict code of camaraderie and honour "when you side with a man you stick with him!" we continually see how they are willing to do anything in order to save their own skin. Pike is a very intelligent but deeply troubled character who espouses the aforementioned code of loyalty, however he rarely follows through on it until the end of the film. His selfish actions continually come back to haunt him, and he eventually condemns his actions and decides the most selfless thing he can do is to go back for Angel in a completely humanitarian gesture of loyalty and solidarity. He is cleansed in his death and it serves as the ultimate refusal to be tamed, and the acceptance that his way of life is at an end. Not only does this provide catharsis for Pike but also serves as a profound statement on the mentality of the criminal mind. He would rather purge his conscience and remain true to the life he has led than become a restrained and condemned prisoner of society.
The fatal shot to Pike, delivered by a child, serves as an allegory for the death of the west as Pike knew it. The children of the new age of technology and industry are killing off the remnants of the ageing past. It also further illustrates the inherent bloodlust in society and the suggestion that if driven far enough, anyone is capable of some degree of violence a rather shocking truth that we are reminded of all too often in the news and media. The social commentary on human nature and its propensity for violence offered by "The Wild Bunch" still remains as relevant as ever.
Although the film won no Academy Awards (the academy rarely gives the nod to films containing high levels of violence despite being works of art Taxi Driver, Raging Bull, The Exorcist), it was nominated in two categories - for Jerry Fielding's original musical score and for the film's story and screenplay (a collaboration between Walon Green and Sam Peckinpah). The Wild bunch is also responsible for increasing the acceptance and tolerance level for violence on the screen. This lasting effect can be seen in more recent work by directors such as Martin Scorsese, Quentin Tarantino and many others.