Category Archives: Sam Peckinpah

1977 Films, Action, James Coburn, Sam Peckinpah, War

Cross of Iron-1977

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Cross of Iron-1977

Director Sam Peckinpah

Starring James Coburn, Maximilian Schell

Scott’s Review #1,140

Reviewed May 8, 2021

Grade: B+

Cross of Iron (1977) is a film that sticks with you. I appreciate that it’s not a standard, cookie-cutter war film that too often graces the big screen decade after decade featuring different wars but applying virtually the same message. The tone is usually pro-United States with little explanation or defense of the other guys.

This is not one of those films.

That said, I could have used more of a straightforward approach because Cross of Iron is all over the place. It’s like a fragmented puzzle that doesn’t add up or come together but the experience is something both mind-blowing and unforgettable.

Sometimes confusing and unpleasant, it’s directed by Sam Peckinpah so anyone possessing knowledge of some of his other works knows what the experience will be like.

His best films, Straw Dogs (1971) and The Getaway (1972) are famous for their lightning-fast editing sequences galore and sudden still frames. Violence and mistreatment of female characters are also Peckinpah staples and Cross of Iron sure has those elements.

But it’s not on the level that Straw Dogs and The Getaway is as far as a solid storyline. Not even close.

The synopsis goes something like this. The time is World War II and Corporal Rolf Steiner (James Coburn) is a well-respected member of the German military and a recipient of the Iron Cross, Germany’s highest military honor. He leads a group of soldiers to battle somewhere in Russia, presumably.

Envious of Steiner’s Iron Cross award, Captain Hauptmann Stransky (Maximilian Schell), a Prussian officer clashes with Steiner when he joins the unit near the Russian front. Desperate to receive his own Iron Cross, Stransky takes the credit for a significant attack and sparks a heated rivalry with Steiner.

Mixed in with all this machismo drama between Stransky and Steiner are several brooding German soldiers, one French soldier, and a rescued Russian boy. A homosexual relationship between the French soldier and another soldier is discovered by Stransky and used as blackmail while Stransky himself may also be gay. Yet another soldier kisses a fellow soldier on the mouth.

Sadly, these story points go nowhere. And I didn’t care one iota about the Iron Cross.

To add to the confusion, a few of the German soldiers appear to be German while the others, especially Steiner, seem American. They frequently denounce Hitler which makes the viewer wonder why they are fighting for him. Are they forced to? Were many German soldiers not pro-Hitler but had to fight to avoid execution?

Again, these points are not explained.

The film introduction features children singing German songs amidst real-life footage of Hitler and Nazis and the conclusion also features children singing and still frames of children suffering during the war.

The sequences, while powerful, have nothing to do with the story since the story has nothing to do with children except the one lone Russian boy.

If you can get past the cloudy storylines Cross of Iron has some delicious stuff to chew on. Besides the fantastic editing, the film features one of the most intense and interesting scenes I’ve witnessed in a long time.

When the soldiers stumble upon a group of female Russian detachments things heat up. A despised Nazi Party member takes one of the women into a barn and rapes her. She bites off his penis and he kills her. Steiner allows the remaining women to exact revenge on the rapist and they beat him to death.

A couple of things stand out in this scene. As much as Peckinpah usually reduces his female characters to victims, in this scene there is a strong feminist angle which I love.

Were there Russian female soldiers in real life including a high-ranking major? Steiner allowing the women to kill the Nazis would make his group anti-Nazi?

There is a lot to ponder throughout and after watching Cross of Iron (1977). I’m not sure if I’m a huge fan of the film or ever need to see it again but maybe I should. So much goes on throughout the film that either adds or detracts from the experience that it’s a perplexing watch.

I’d add much more to the relationships between the characters, especially the male-male sexual dynamic to bring more substance.

The dynamic of Steiner taking the Russian boy under his wing had more to offer and I’d also reduce the number of battle scenes seemingly thrown in every so often to prove or justify that Cross of Iron is a war film.

1956 Films, Carolyn Jones, Dana Wynter, Don Siegel, Horror, Kevin McCarthy, Richard Deacon, Sam Peckinpah, Science Fiction

Invasion of the Body Snatchers-1956

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Invasion of the Body Snatchers-1956

Director Don Siegel

Starring Kevin McCarthy, Dana Wynter

Scott’s Review #895

Reviewed May 8, 2019

Grade: B+

Invasion of the Body Snatchers (1956), released during the mid-1950s, a time of post-War World II unity and prosperity in America where neighborhoods snuggled cheerily by the fireplaces with nary a care in the world, sought to make the public paranoid and it worked.

Thanks to a foreboding premise audiences got to ponder the possibilities of pod people cloning human beings and invading the planet, scaring the daylights out of the masses, and resonating with critics.

Playing like an extended episode of the Twilight Zone, and to the film’s credit, it preceded the television series, at a brief one hour and twenty-minute running time the film is successful at achieving thought-provoking post-film dialogue and has been crowned with the cult-classic status along with similar creepy themed genre films that blossomed during the 1950s.

Set in the fictional sunny California town of Santa Mira, the film gets off to an exciting start as we witness a screaming man in an emergency room attempting to be calmed by staff. The harried man claims to be a doctor and recounts, via flashbacks, the events leading up to the present day.

Our main character, Dr. Miles Bennell (Kevin McCarthy), and his ex-girlfriend Becky (Dana Wynter) team up after several patients report relatives acting robotic and strange.

When half-created bodies in pods are soon discovered, Miles and Becky know something is amiss in their town and race to figure out the mystery of the “pod people” while others turn into emotionless human-like beings.

The epidemic is caused by extraterrestrial life. The intention is for humanity to lose all emotions and a sense of individuality, creating a simplistic, stress-free world.

An interesting facet of Invasion of the Body Snatchers is how time has changed the reaction to the film. In 1956 the thought of aliens taking over the world seemed plausible and frightening since the man had not yet walked on the moon and astronomy was a new venture.

The peaceful tranquility of the United States of America was in danger of being overtaken, the film exclaimed, and viewers fell for the scare tactics.

The film was created to be a political allegory and boy did this sure work.

Decades later, the vibe of the United States is more integrated and flourished with more diversity and acceptance of other cultures and beings. The country is also more chaotic, so the invasion of the “pod people” is less scary and perhaps even more embraced by those living in Malcontent.

Invasion of the Body Snatchers suffers from poor aging and a message rethink and teeters on feeling dated.

The acting is marginally good if not spectacular, but it does not need to be Oscar-worthy to have the desired effect. The actors deliver their lines with a dramatic gusto successful in providing the troubled paranoia of the suburban American to audiences sure to be on the edge of their seats as the drama unfolds.

The characters never think outside the box; only in straightforward terms so the motivations are earnest.

The black and white cinematography is palpable yet subdued, the lack of colors providing substance. The 1950’s while a wonderful time for film was also a less edgy time for cinema.

The 1960s brought fewer restrictions and therefore more shocking elements but Invasion of the Body Snatchers is compartmentalized, feeling more like a long episodic television thriller.

Double-billed with the equally frightening The Day the Earth Stood Still (1951) would make for delicious 1950s science-fiction viewing.

I remain partial to the stunning vibrantly colored 1978 remake, superior film-making, and more layered production values. The original Invasion of the Body Snatchers (1956) holds its own and is a recommended watch.

1971 Films, Dustin Hoffman, Sam Peckinpah, Thriller

Straw Dogs-1971

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Straw Dogs-1971

Director Sam Peckinpah

Starring Dustin Hoffman, Susan George

Scott’s Review #733

Reviewed March 19, 2018

Grade: A

Straw Dogs (1971) is famed director, Sam Peckinpah’s, most startling and most controversial film.  Hardly an easy watch, it will conjure up both disturbing and uneasy reactions but is a work of art- teetering on an all-out art film.

Viewers will cringe during intense scenes, but will also marvel at the film mastery of this classic, brought on a whirlwind roller coaster ride as story elements spiral out of control to a frenetic and powerful climax.

Intellectual American mathematician, David Sumner (Dustin Hoffman), moves with his sexy British wife, Amy (Susan George), to a Cornish countryside- the town in which she grew up where they proceed to encounter problems, both within their marriage, and external factors, as an angry mob of blue-collar workmen, threaten their home life.

When non-violent David is pushed to the limit, questions of morality are brought to light, as Amy faces her demons and bouts with brutality and victimization.

The film, made in 1971, pushes the envelope greatly in its display of violence.

Several years earlier, 1967’s Bonnie and Clyde, and Peckinpah’s own The Wild Bunch (1969), really were the films that got the ball rolling, but Straw  Dogs continues the trend of the brutal violence that overtook American cinema in those days.

While watching the film for the second time I was struck hard by the feeling that I was watching something important.

Amy’s rape scene is the toughest scene of all to watch for the sheer way in which it can be interpreted. Later, when Amy replays the scene in her mind, the audience is forced to endure the experience over again.

Not content to only include the rape scene, Peckinpah wants the viewer to dissect the scene- the fact that Amy is assaulted by not one, but two men, and reacts differently to each of them, is the key here.

The scene is complex in that, Venner, the first assailant is hunky and presumed to be a former beau, and she eventually relents to his advances, but does she enjoy the act? When Scutt enters the picture, however, things turn from tender and ambiguous to violent and dirty.

Undoubtedly an influence to director Quentin Tarantino is the final sequence of the film- a scene fraught with tension, violence, and grit.

Now trapped in their house amid a mob of angry, drunk men, hell-bent on revenge, David and Amy must both bond with each other and match antics with the men.

I experienced visions of 2015’s The Hateful Eight through the claustrophobic, cabin-like setting, and the quick edits that Peckinpah successfully uses throughout the entire film.

A sad scene, and at least a portion of the reason for the town folk’s rage, is a scene reminiscent of Frankenstein when a hulking and mentally challenged man accidentally harms a young girl. Not knowing his strength and meaning to protect the girl instead of killing her, the menfolk of the town respond in a nightmarish and witch-hunt manner.

Suddenly, David becomes the defender and protector of this man.

David’s change in character is interesting and the great Hoffman adds layers and layers of complexities to the role. At first a peaceful man, due to circumstances, he soon becomes the assailant, creating traps and weapons intent on maiming his prey.

Hardly a violent man, this change of character is evidenced as we earlier see David nurse a wounded bird.

In addition to Hoffman’s traditionally great acting performance, Susan George succeeds in providing the perfect mixture of bitchiness, spoiled brat tantrums, and later, guilt-ridden angst, and fear.

The villains are perfectly cast and believable as bored, simple-minded, and horny, small-town boys just itching for trouble.

Lush is the gorgeous United Kingdom countryside featured in Straw Dogs, as frequent exterior scenes are shot, revealing lavish and plush mountainous areas- the sweeping beauty of the landscape counterbalancing the brutality revealed in other sections of the film.

Mixing super quick editing with a dark, compelling screenplay, with underlying themes of questioning one’s manhood, Straw Dogs is a provocative and edgy tale of violence and revenge in a small town, that gives new meaning to the fear of “home invasion” and feeling vulnerable.

Thanks to a great cast and lots of other facets, Straw Dogs (1971) is a timeless (and brutal) treasure.

Oscar Nominations: Best Original Dramatic Score

1972 Films, Action, Ali MacGraw, Sam Peckinpah, Slim Pickens, Steve McQueen

The Getaway-1972

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The Getaway-1972

Director Sam Peckinpah

Starring Steve McQueen, Ali MacGraw

Scott’s Review #439

539604

Reviewed July 3, 2016

Grade: A-

The Getaway (1972) is a classic action film by director Sam Peckinpah- known for works such as Straw Dogs and The Wild Bunch.

His films are known as “guy films” and a rather violent experience.  The Getaway is no exception, though it is not immensely brutal either. Still, there are more than one macabre scene and one dastardly villain.

For fans of Peckinpah, The Getaway is a must-see.

The film features Steve McQueen and Ali MacGraw perfectly cast as lovers Doc and Carol McCoy. Inescapable is their chemistry, and art mirrored life as the two were embroiled in a torrid love affair during shooting and later were married.

We meet Doc in a Texas prison, where his parole has just been denied. Doc and Carol decide to make a deal with a corrupt businessman, Jack Benyon, to ensure Doc is released. One stipulation is for Doc to participate in a bank heist with two of Jack’s men (Rudy and Frank).

The heist goes off, but things go awry and Doc and Carol head for El Paso with a large sum of money, being pursued by Rudy, and a double-cross attempt by Jack.

Rudy kidnaps veterinarian Harold and his young wife Fran (Sally Struthers) to aid him with his injuries, taking them along as he pursues Doc and Carol.

Mixed in with the already complicated plot is a con-man, who attempts to steal Doc and Carol’s money.

Doc and Carol are clearly the heroes of the film and are meant to be rooted for and the characters work very well together. Yes, they are criminals themselves, but they are portrayed as nice and not hurting anyone who does not deserve it. Doc does spare Rudy’s life at one point, and I think this only reinforces his appealing anti-hero character.

The love story is also a great aspect of the film making Doc and Carol likable. A few sweet, tender scenes of their romance are mixed in, adding a nice balance to the otherwise testosterone-fueled events.

The Getaway contains spectacular editing as, particularly at the beginning of the film, we watch Doc in prison, going through his day-to-day rituals, mixed in brilliantly with other stories in the film.

The musical score matches perfectly with the editing as it adds a provocative element of intrigue. These components add the necessary elements to a film like this- edge of your seat!

I love the Texas setting.

Characters are constantly traveling to get somewhere- either by train, by car, or on foot- so we see much of the Texas countryside, almost giving The Getaway a Western flavor.

It is certainly a hot and humid environment, though McQueen always has a sophisticated suit on and MacGraw looks stylish and put together.

And from a prop perspective, I never tire of seeing those early 1970s sedans driving at high speeds.

Unfortunately, as with most Peckinpah films, women are not portrayed in a positive light, though Carol is one of the strongest of his female film characters. Yet, in one tough scene, she is smacked around by Doc after he realizes she slept with Jack to ensure his release from prison.

The most confusing and weak character is Fran. In a strange bit of writing, she inexplicably falls madly in love with her kidnapper, Rudy, even as he abuses and humiliates her- while her husband is around. This is odd and tough to watch and not the best part of The Getaway.

Her character is not developed well and it is head-shaking why she feels any passion for Rudy.

The heart of the film belongs to Doc and Carol as they are on the lam for much of the time and this is a successful part of The Getaway- hence the title. Will they get caught, will they escape?

The characters remind me of Bonnie and Clyde, so we wonder if Doc and Carol will meet the same fate, but of course, we like them so we do not want that.

The Getaway is a fast-paced, down-home, red-blooded sort of action film. It is stylized, gritty, and sometimes violent. The chicken wing scene between Rudy, Fran, and Harold starts light and turns ugly, adding to the unpredictable nature of the film.

A supreme offering by Peckinpah.

1974 Films, Action, Comedy, Dark Comedy, Kris Kristofferson, Mexican, Sam Peckinpah

Bring Me the Head of Alfredo Garcia-1974

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Bring Me the Head of Alfredo Garcia-1974

Director Sam Peckinpah

Starring Warren Oates

Scott’s Review #222

70020328

Reviewed February 20, 2015

Grade: B+

Bring Me the Head of Alfredo Garcia is a Mexican, cult-action film from 1974, directed by Sam Peckinpah, that influenced famed modern movie director Quentin Tarantino in multiple ways.

The film itself is violent, bloody, and traditionally Peckinpah in tone and look, similar to his other films (Straw Dogs from 1971 and The Wild Bunch from 1967).

The premise of the film is intriguing- a powerful man known simply as “The Boss”, turns furious and places a bounty on the head of the man who impregnated his daughter, whom he, by the way, tortures to garner this information out of.

He offers the enormous sum of 1 million dollars to the person who can “bring him the head of Alfredo Garcia”.

From this point, the action centers mostly on Bennie, a retired military officer who is intrigued by the bounty up for grabs.

Bennie, along with his prostitute girlfriend, Elita, traverses the lands of Mexico in search of Alfredo Garcia, whether he already be dead or still alive, which is a mysterious and fun element of the film.

I have a tough time taking the film too seriously as much as I enjoyed it- it seems an action farce and, without giving too much away, the scenes involving the carrying of a severed head, arguably the lead character, are as much comical as ghastly.

The illustrious lighting is a major focal point, especially during the outdoor scenes and specifically the nighttime desert scenes when Elita is almost raped by two bikers. The moonlight radiates onscreen.

The character of Elita is a fascinating one for me. On the one hand, she is an aging prostitute madly in love with Bennie and intrigued by a life with him living off their spoils. However, she almost enjoys the sexual experience with one of the bikers, played wonderfully by Kris Kristofferson, despite being roughed up by him.

The scene, while certainly violent, is in a way, almost tender as the biker and Elita realize their attraction for one another. It’s a surreal scene and has almost a sense of clarity for both characters. Are they in lust?

Peckinpah women are traditionally not treated well, but Elita borders on the exception.

The Tarantino influence is undeniable- the mixture of humor amid violence- a severed head being treated as a comical prop, is immeasurable in its comparison to later Tarantino films such as the Kill Bill chapters.

Daring and pure genius, the film contains a dark tone but does not take itself too seriously by going for any sort of melodrama or being overwrought.

It is only a film and has fun with that fact. It tries to be nothing more and embraces being bizarre.

Tarantino films are like Peckinpah films just made 20-30 years apart.

Bring Me the Head of Alfredo Garcia has evolved into a cult classic after having flopped commercially and critically in 1974.

How wonderful when a gem is rediscovered and laden with influence, in this case as much stylistically as otherwise.