Ebook Download , by W. K. Stratton
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, by W. K. Stratton
Ebook Download , by W. K. Stratton
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Product details
File Size: 62263 KB
Print Length: 352 pages
Publisher: Bloomsbury Publishing; 1 edition (February 12, 2019)
Publication Date: February 12, 2019
Sold by: Amazon Digital Services LLC
Language: English
ASIN: B07FLF4GNZ
Text-to-Speech:
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Amazon Best Sellers Rank:
#55,934 Paid in Kindle Store (See Top 100 Paid in Kindle Store)
The book is padded with biographical CHAPTERS on multiple cast members -- material that has been already been covered in other books, often at greater length & depth. One hopes (in fact, demands) that when the topic is something that has received a lot of attention in a lot of books, that the new entry brings a fresh mind to the table with, at minimum, a new spin. Alas, not here. The above-referenced padding is a dead giveaway that this author has NOTHING new to say. In fact, he has nothing to to say. And, he does it poorly to boot. He thinks Dutch betrayed Angel. Anyone knows that the mother of the girl he killed ratted him out to Mapache. Dutch merely had to go along with it, having been been put on the spot. this is hardly the same as "betraying" Angel. (However, no doubt that some bookhouse lawyer will enthusiastically split hairs like any dumb damn fan boy.) On page 126 there is an indisputable factual error. The author says that Holden and Hepburn fell in love making SABRINA when both were already married. SABRINA was filmed in 1953. She married M. Ferrer in September 1954, just as the film was released. When I read that, I wanted to throw the book in the trash. I still might.
I had great hopes for this book, but it covers no new territory or has anything really insightful to say about Peckinpah'smasterwork. Really it is just a fan boy's love letter to the film. The author often knocks other films to enhance The Wild Bunch's reputation, which is unnecessary and often questionable. The author goes out of his way to dismiss the Western scores of Elmer Bernstein, especially for The Magnificent Seven but Jerry Fielding's excellent score for The Wild Bunch often uses the same orchestral tropes Bernstein does, and is in no way innovative or unusual.I was also troubled by his reference to Eli Wallach as a "Jew." Which I guess he means Wallach should not play a Mexicanlike his role in Leone's The Good, The Bad And The Ugly. I love The Wild Bunch and it is ill served by this stupid fawningbook.
This is a well written and thoroughly researched book. It goes far beyond merely analyzing the film The Wild Bunch and the career of its director, Sam Peckinpah. It also offers a partial biography of Peckinpah, biographical sketches of several of the other key people involved in the making of the movie, chunks of history about Hollywood and western films, contextual historical information about U.S.-Mexico border relations that influenced the plot of the film, etc. Reading the book is an educational experience. The only qualifier I will put on this positive review is that some might find the book too exhaustive. You have to care an awful lot about The Wild Bunch, Peckinpah, and the film industry from the era, to want to take in all of this information. The content could have been cut by a third or more, and the reader would still have come away with a deeper understanding of the topics mentioned in the subtitle. So it's just a matter of how much information you'd want from a book like this. But in any case, it's written very well and is highly informative.
Stratton's book is a non stop fest of anecdotes about everyone who slowly, unevenly, tumultuously guided this brilliant work to the screen and into legend. Stratton makes clear that truly this film was a collective effort, the best work of many people. Altogether fitting that the film should first be a gleam in the eye of a legendary stuntman, and that Peckinpah would not allow himself to drink while he was actual at work on it. (Evenings, he confined himself to beer. He was even then such a confirmed alcoholic he could not stop drinking altogether.) Not least of Peckilnpah's genius in the making was to keep the studio's paws off the prints and the editing when they were filming down in Parras Mexico. Stratton makes clear too the chaos and camaraderie of the set and the shoot in 1968. He offers enough backgrounds on the Mexican revolution to inform the reader. (But fails to note that Parras Mexico is where Pancho Villa "retired" and where in 1924 he was assassinated.) Enough wonderful bits here to make readers the hit of any cocktail party with trivial. Such as, Ernest Borgnine, the only combat veteran among the cast jumped when he heard some rounds going off; he knew the difference between live ammo and blanks. And sure enough, the ammo that the "Federales" carried were the real thing. Quickly changed. Stratton has a crowded canvas to explore and he does well and vividly. However, towards the end, once the post production stuff starts, the book is not as compelling. Except for this one fact: If you ever wondered why "Cabal Hogue" was such a weirdo western (not a weird as Paint Your Wagon, also starring Lee Marvin, but weird) look no further than these pages. Peckinpah was directing Cabal Hogue by day and editing THE WILD BUNCH at night out there in the middle of the desert, and I feel certain he reversed his drinking vows, and stayed sober at night so he could create this masterpiece.
I've loved The Wild Bunch since it first knocked my socks off on opening day in 1969, and I lost count of how many times since. If I find it on cable, I watch it. And it works every time, just like the first time.This book is totally worthy of this movie. What a helluva story!
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