When it was first released, The Wild Bunch became the subject of heated
controversy among critics and the public alike due to its extraordinary level of
violence. Following close on the heels of Bonnie and Clyde, The Wild Bunch
surpassed the slow-motion death balletics of that film by quantum leaps,
shocking and/or revolting large numbers of viewers. (At the Kansas City test
screening of the 190-minute rough cut, over 30 members of the audience walked
out in disgust, some reportedly throwing up in the alley behind the theater.)
Twenty years later, in an age inured to graphic screen violence and gore, the
violence of The Wild Bunch is still remarkably provocative and disturbing. This
is partially because the violence is not gratuitous, as some have claimed, but
central to the film's vision of human experience: it posits a world in which
degrees of violence provide the only standards, and violent death the only
liberation. If it is a world not predicated entirely on human evil, it is one at
least in which there is very little good or hope for change. It seems clear
today that what many people object to in Peckinpah's extravagant depiction of
violence in The Wild Bunch is actually his dark view of human nature.
Another reason the film's violence still shocks and scintillates is its
rendition by Peckinpah's stylized, optically jolting montage. Not since
Eisenstein has a filmmaker so radically explored the conventions of traditional
editing form. Much of the action in The Wild Bunch was filmed by as many as six
Panavision, Mitchell, and Arriflex cameras running simultaneously at different
speeds, each equipped with different lenses, including wide-angle, telephoto,
and zoom. Peckinpah and his editor, Louis Lombardo, then created elaborate
montage sequences by cutting footage shot in "real time" together with footage
shot at varying decelerated speeds—all shot through a variety of lenses, some of
which created a unique optical tension by zooming in and out nervously (and,
amazingly, without calling attention to themselves) at appropriate moments. The
perceptual impact of rapidly intercutting violent action shot at standard speed
with slow-motion footage and a variety of telephoto zooms, in sequences that
last as long as seven minutes, is both exhilarating and exhausting. The Wild
Bunch is the most optically violent film ever made, one which relentlessly
assaults the senses of its audience with a torrent of violent images to rival
and finally exceed Eisenstein's achievement in "The Odessa Steps" sequence of
Potemkin. (In fact, The Wild Bunch contains more individualized cuts than any
color film ever made—3,642, in a decade when 600 was standard for the average
It seems ironic and not a little crazy today that a film so clearly focussed on
themes of loyalty, honor, integrity, and heroism could have been reviled in its
time for what one major critic called, "moral idiocy." But that was the late
1960s, when the issues of violence in American society and American foreign
policy had become central to virtually every national forum of public opinion.
We stood at the end of a decade of political assassinations whose magnitude was
unprecedented in our history, and we were deeply mired in a genocidal war in
Vietnam. The My Lai massacre was revealed less than a year after the release of
The Wild Bunch, but many Americans already knew what that revelation confirmed:
that to fight a war against a popular insurrection is to fight a war against the
populace. For many critics The Wild Bunch seemed to be an allegory of our
involvement in Vietnam, where outlaws, mercenaries, and federal troops fought to
produce the largest civilian "body count" since World War II. Others saw the
film more generally as a comment on the level and nature of violence in American
life. But nearly everyone saw that it bore some relationship to the major social
issues of the times, and, depending on how one felt about those, one's reaction
to the film was enthusiastically positive or vehemently negative—both mistaken
responses to a work whose prevailing tenor is moral ambiguity from start to
finish. Today it is possible to find a middle ground; for whatever else The Wild
Bunch may be (as it is, for example, the greatest western ever made), it is
clearly a major work of American art which changed forever the way in which
violence would be depicted in American films, as well as permanently
restructuring the conventions of its genre. That Peckinpah was unable to equal
it later—as with Welles and Citizen Kane—is not testimony to his insufficiency a
a film artist but to the extraordinary achievement of The Wild Bunch itself. It
is, as Robert Culp remarked on its release, a film "more quintessentially and
bitterly American than any since World War II." Like Kane, The Wild Bunch will
remain an enduring work of American art—vast and explosive, vital and violent,
with something both very dark and very noble at its soul.—David CookUser
Copyright © 2006 - Thomson Gale, a part of the Thomson Corporation - Copyright
THE WILD BUNCH USA, 1969
Director: Sam Peckinpah
Production: Warner Bros. and Seven Arts, Inc.; Technicolor, 33mm, Panavision 70
(US), 70mm, CinemaScope (Europe); running time: 143 minutes (after release, the
studio cut 4 scenes reducing running time to 135 minutes). Released 18 June
1969, Los Angeles. Filmed in Parras, Torréon, El Rincon del Montero, and El Romeral,
Producers: Phil Feldman with Roy N. Sickner;
Screenplay: Walon Green and Sam Peckinpah,
from an original story by Walon Green and Roy N. Sickner;
Photography: Lucien Ballard;
Editor: Louis Lombardo;
Sound: Robert Miller;
Art director: Edward Carrere;
Music: Jerry Fielding;
Music supervisor: Sonny Burke;
Special effects: Bud Hulburd;
Costume designer: Gordon Dawson.
Cast: William Holden (Pike Bishop);
Ernest Borgnine (Dutch Engstrom);
Robert Ryan (Deke Thornton);
Edmond O'Brien (Sykes);
Warren Oates (Lyle Gorch);
Jaime Sanchez (Angel);
Ben Johnson (Tector Gorch);
Emilio Fernandez (Mapache);
Strother Martin (Coffer);
L. Q. Jones (T. C. Nash);
Albert Dekker (Pat Harrigan);
Bo Hopkins (Crazy Lee Stringfellow);
Dub Taylor (Major Wainscoat);
Jorge Russek (Lieutenant Zamorra);
Alfonso Arau (Herrera);
Chano Urueta (Don José);
Sonia Amelio (Teresa);
Aurora Clavel (Aurora);
Elsa Cardenas (Elsa);
Fernando Wagner (Frederick Mohr).
Jorge Rado (Ernst);
The Wild Bunch Publications
Kitses, Jim, Horizons West, Bloomington, Indiana, 1970.
Evans, Max, Sam Peckinpah: Master of Violence, Vermillion, South Dakota, 1972.
Caprara, Valerio, Peckinpah, Bologna, 1976.
Parish, James Robert, and Michael Pitts, The Great Western Pictures, Metuchen,
New Jersey, 1976.
McKinney, Dough, Sam Peckinpah, Boston, 1979.
Seydoe, Paul, Peckinpah: The Western Films, Urban, Illinois, 1980.
Tuska, Jon, editor, Close-Up: The Contemporary Director, Metuchen, New Jersey, 1981.
Simmons, Garner, Peckinpah: A Portrait in Montage, Austin, 1982.
Thomas, Bob, Golden Boy: The Untold Story of William Holden, New York, 1983.
Arnold, Frank, and Ulrich von Berg, Sam Peckinpah: Eine Outlaw in Hollywood, Frankfurt, 1987.
Buscombe, Ed, editor, The BFI Companion to the Western, London, 1988.
Fine, Marshall, Bloody Sam: The Life and Films of Sam Peckinpah, New York, 1992.
Bliss, Michael, Justified Lives: Morality and Narrative in the Films of Sam Peckinpah, Carbondale, 1993.
Bliss, Michael, editor, Doing It Right: The Best Criticism on Sam Peckinpah's The Wild Bunch, Carbondale, Illinois, 1994.
Weddle, David, If They Move, Kill 'Em: The Life and Times of Sam Peckinpah, New York, 1994.
Prince, Stephen, Savage Cinema: Sam Peckinpah and the Rise of Ultraviolent Movies, Austin, 1998.
Prince, Stephen, editor, Sam Peckinpah's The Wild Bunch, Cambridge, 1999.
Schrader, Paul, "Sam Peckinpah Goes to Mexico," in Cinema (Beverly Hills), no. 3, 1969.
"Sam Peckinpah Lets It All Hang Out," in Take One (Montreal), January-February 1969.
"Man and Myth," in Time (New York), 20 June 1969.
Gilliatt, Penelope, in New Yorker, 5 July 1969.
Kauffmann, Stanley, in New Republic (New York), 19 July 1969.
Sarris, Andrew, in Village Voice (New York), 31 July 1969.
Clark, Arthur, in Films in Review (New York), August-September 1969.
Farber, Stephen, "Peckinpah's Return: An Interview," in Film Quarterly (Berkeley), Fall 1969.
Milne, Tom, in Sight and Sound (London), Autumn 1969.
Whitehall, Richard, "Talking with Peckinpah," in Sight and Sound (London), Autumn 1969.
"What the Directors Are Saying," in Action (Los Angeles), September-October 1969.
Austen, David, in Films and Filming (London), October 1969.
Cutts, John, "Shoot: An Interview with Sam Peckinpah," in Films and Filming (London), October 1969.
Sragow, Michael, in Film Society Review (New York), November 1969.
Brown, Kenneth, in Cineaste (New York), Winter 1969–70.
McCarty, John, "Sam Peckinpah and The Wild Bunch," in Film Heritage (Dayton, Ohio), Winter 1969–70.
Simon, John, "Violent Idyll," in Film 1969/70, edited by Hollis Alpert and Andrew Sarris, New York, 1970.
Avant-Scène du Cinéma (Paris), May 1970.
Blum William, "Towards a Cinema of Cruelty," in Cinema Journal (Evanston, Illinois), Spring 1972.
Shaffer, Lawrence, "The Wild Bunch versus Straw Dogs," in Sight and Sound (London), Summer 1972.
"Peckinpah Issue" of Film Heritage (Dayton, Ohio), Winter 1974–75.
Pettit, Arthur, "Nightmare and Nostalgia: The Cinema West of Sam Peckinpah," in Western Humanities Review (Salt Lake City, Utah), Spring 1975.
Barbaro, Nick, in Cinema Texas Program Notes (Austin), 8 September 1975.
Pearson, M., in Jump Cut (Berkeley), August 1978.
Meyerson, Harold, in Magill's Survey of Cinema 4, Englewood Cliffs, New Jersey, 1980.
Simmon, Scott, "Return of the Badmen," in Journal of Popular Film (Washington, D.C.), Fall 1981.
Boyero, C., in Casablanca (Madrid), December 1981.
Camy, G., "Sur le sentier de l'oubli: Sam Peckinpah," in Jeune Cinéma (Paris), April-May 1982.
Rentero, J. C., "Sam Peckinpah: El largo adios," in Casablanca (Madrid), March 1985.
Engel, L., "Space and Enclosure in Cooper and Peckinpah: Regeneration in the
Open Spaces," in Journal of American Culture (Bowling Green, Ohio), no. 2, 1991.
Holtsmark, E.B., "The Katabasis Theme in Modern Cinema," in Bucknell Review, vol. 35, no. 1, 1991.
Triggs, J. A., "The Wild Bunch: Scourges or Ministers?" in New Orleans Review, no. 3, 1991.
Segaloff, N., "Greenland," in Film Comment (New York), January-February 1993.
Torry, R., "Therapeutic Narrative: The Wild Bunch, Jaws, and Vietnam," in Velvet Light Trap (Madison, Wisconsin), Spring 1993.
Weddle, David, "Dead Man's Clothes: The Making of The Wild Bunch," in Film Comment (New York), May-June 1994.
Sragow, Michael, "The Homeric Power of Peckinpah's Violence," in Atlantic Monthly (Boston), June 1994.
Redman, Nick, "Peckinpah's Bunch," in DGA Magazine (Los Angeles), vol. 19, no. 4, August-September 1994.
Gaydos, Steven, "Peckinpah's Wild Vision Restored After 26 Years," in Variety (New York), vol. 358, no. 4, 27 February 1995.
Rafferty, T., "Artist of Death," in New Yorker, vol. 71, 6 March 1995.
Brown, G., "Once Were Westerns," in Village Voice (New York), vol 40, 7 March 1995.
Travers, P., in Rolling Stone, no. 703, 9 March 1995.
Ansen, D., "The Return of a Bloody Great Classic," in Newsweek, vol. 125, 13 March 1995.
Girard, Martin, in Séquences (Haute-Ville), no. 177, March-April 1995.
Simon, J., "Wilder and Wilder," in National Review, vol. 47, 3 April 1995.
Alleva, R., "Nihilism on Horseback," in Commonweal, vol. 122, 21 April 1995.
Higson, Charlie, "The Shock of the Old," in Sight & Sound (London), vol. 5, no. 8, August 1995.
Seydor, Paul, David Weddle, and Edward Buscombe, "Sam Peckinpah: Wild Things,"
in Sight & Sound (London), vol. 5, no. 10, October 1995.
Seydor, Paul, "Facts about Sam," in Sight & Sound (London), vol. 6, no. 9, September 1996.
Seydor, Paul, "Bunch Continued," in Sight & Sound (London), vol. 6, no. 11, November 1996.
Westerns: Reviews and Articles about Selected Films in the UC Berkeley Libraries
Listing of Westerns held by MRC
Movies, Race, and Ethnicity: Native Americans
Bibliography of works on John Ford
Images of Native Americans bibliography
Broken Arrow (Delmer Daves)
"Hollywood Addresses Postwar Assimilation: Indian/White Attitude In
Broken Arrow." "American Indian Culture and Research Journal 1987 11(1):
The release of Delmer Daves's Broken Arrow in 1950 marked an abandonment
of the traditional racism that dominated American films from Stagecoach
to Union Pacific. Although John Ford led Hollywood efforts to destroy
stereotypes, Broken Arrow is the first to portray racial equality,
humane Indians, the universal values of justice, friendship, and
tolerance, and an Indian hero." [from ABC-CLIO America History and Life]
"Broken Arrow: (Review) New York Times, (July 21, 1950), p. 15
"Broken Arrow: (Review) New Yorker, 26 (July 22, 1950), p. 45
"Who Wrote What??? A Tale of a Blacklisted Screenwriter and His Front."
Cineaste, vol. 18 no. 2. 1991. pp: 18-21.
Lenihan, John H.
"Classics And Social Commentary: Postwar Westerns, 1946-1960." Journal
of the West 1983 22(4): 34-42.
"Western movies followed a standard model set by The Great Train Robbery
(1903) until the precedent-setting The Outlaw (1943) and Duel in the Sun
(1946). These movies were the first to offer a greater variety of story
and character, and, together with films which had a psychological or
social theme, became known as "adult Westerns." Red River (1948) dealt
with postwar disillusionment, High Noon (1952) was a reaction to the
McCarthy era, and Broken Arrow (1950) treated the subject of racial
tolerance." [from ABC-CLIO America History and Life]
Magill's Survey of Cinema--English Language Films, first series
Edited by Frank N. Magill ; associate editors, Patricia King Hanson,
Stephen L. Hanson. pp: 248-51. Englewood Cliffs, N.J: Salem Press,
c1980. (UCB Hum/Area PN1995 .M3 V.1-4 (C1980); UCB Info Ctr PN1995 .M3
"Cultural Confusion: Broken Arrow." In: Hollywood's Indian: The
Portrayal of the Native American in Film / Peter C. Rollins and John E.
O'Connor, editors. pp: 91-106. Lexington: University Press of Kentucky,
Main Stack PN1995.9.I48.H66 1998
Moffitt PN1995.9.I48.H66 1998
"Cultural Confusion: Broken Arrow: A Look Back at Delmar Davis' Broken
Arrow." Film & History 1993 23(1-4): 57-69.
"Once heralded as a sympathetic and positive Hollywood portrayal of
American Indians, the film Broken Arrow (1950) actually distorts many
elements of the historical record, including Apache culture and
relations between Indians and whites." [from ABC-CLIO America History
The Filming of the West. 1st ed. pp: 533-4. Garden City, N.Y.:
UCB Main PN1995.9.W4 T81
UCB Moffitt PN1995.9.W4 T8
"The Representation of the Native American in the Hollywood Western."
Platte Valley Review, vol. 19 no. 1. 1991 Winter. pp: 49-70.
Buffalo Bill and the Indians (Robert Altman)
"Buffalo Bill and the Indians" (review) Commentary,103 (Aug. 13, 1976),
"Buffalo Bill and the Indians" (review) Commentary, 62 (Oct. 1976), pp.:
"Buffalo Bill and the Indians" (review) Film Quarterly, 45 (Winter
1976), p. 254
"Buffalo Bill and the Indians" (review) Films in Review, 27 (Oct. 1976),
"Buffalo Bill and the Indians" (review) The Nation, 223 (July 31, 1976),
"Buffalo Bill and the Indians" (review)New York Review of Books, 23
(July 15, 1976), pp: 29-30
"Buffalo Bill and the Indians" (review)New York Times, 23 (July 4,
1976), Sect II, p. 1
"Buffalo Bill and the Indians" (review)New York Times, 52 (July 28,
1976), p. 62
"Buffalo Bill and the Indians" (review)New Yorker, 23 (July 15, 1976),
"Buffalo Bill and the Indians" (review)Sight and Sound, 30 (Fall 1976),
The Films of Robert Altman. pp: 75-82 Metuchen, N.J.: Scarecrow Press,
Main Stack PN1998.A3.A5765
Robert Altman. pp: 91-8 Boston: Twayne, 1985. Twayne's filmmakers
Main Stack PN1998.A3.A5769 1985
Moffitt PN1998.A3.A5769 1985
Self, Robert T.
"Author, Text, and Self in Buffalo Bill and the Indians." In:
Ambiguities in Literature and Film: selected papers from the Seventh
Annual Florida State University Conference on Literature and Film /
edited by Hans P. Braendlin. pp: 104-116. Gainesville, FL: University
Presses of Florida ; Tallahassee: Florida State University Press, c1988.
UCB Main PN56.A55 F551 1987
Ride the High Country (Sam Peckinpah)
"Ride the High Country" (review) Cinema, 1 (1963), p. 33
"Ride the High Country" (review)New York Times, (July 24, 1962), p. 26
"Ride the High Country" (review) Quarterly Review of Film Studies, 4:3
(1979), pp: 379-88.
"Ride the High Country" (review) Quarterly Review of Film Studies, 4:4
(1979), pp: 507-8
"Ride the High Country" (review) Sight and Sound, 31 (Summer 1962), p.
Engel, Leonard W.
"Sam Peckinpah's Heroes: Natty Bumppo and the Myth of the Rugged
Individual Still Reign." Literature/ Film Quarterly, vol. 16 no. 1.
1988. pp: 22-30.
Magill's Survey of Cinema--English Language Films
Edited by Frank N. Magill; associate editors, Patricia King Hanson,
Stephen L. Hanson. Series I, v3, pp: 1447-50. Englewood Cliffs, N.J:
Salem Press, c1980.
UCB Hum/Area PN1995 .M3 V.1-4 (C1980)
UCB Info Ctr PN1995 .M3 1-4)
Skerry, Philip J.
"The Western Film: A Sense of an Ending." New Orleans Review, vol. 17
no. 3. 1990 Fall. pp: 13-17.
The Unforgiven (Clint Eastwood)
"Unforgiven." (movie reviews) Commonweal v119, n17 (Oct 9, 1992):21 (2
"Unforgiven." (movie reviews) Newsweek v120, n6 (August 10, 1992):52.
Blake, Richard A.
"Unforgiven." (movie reviews) America v167, n6 (Sept 12, 1992):144 (2
"Unforgiven." (movie reviews) American Spectator v25, n10 (Oct, 1992):53
"Unforgiven." (movie reviews) Tikkun v8, n3 (May-June, 1993):30.
"Unforgiven." (movie reviews) New Leader v76, n8 (June 14, 1993):20 (2
Broeske, Pat H.
"They finally made his day; to many, Eastwood's acclaim long overdue."
(Clint Eastwood's movie 'Unforgiven' wins Oscars) Washington Post v116
(Wed, March 31, 1993):B1, col 5, 18 col in.
"Unforgiven." (movie reviews) (Living Arts Pages) New York Times v141
(Fri, August 7, 1992):B1(N), C1(L), col 1, 23 col in.
"Unforgiven." (movie reviews) Time v140, n6 (August 10, 1992):66.
Deloria, Philip J.
"Unforgiven." (movie reviews) American Historical Review v100, n4 (Oct,
1995):1194 (5 pages).
"Unforgiven." (movie reviews) New York v25, n33 (August 24, 1992):119 (2
"Unforgiven." (movie reviews) Sight and Sound v2, n6 (Oct, 1992):58.
Greenberg, Harvey R.
"Unforgiven." (movie reviews) Film Quarterly v46, n3 (Spring, 1993):52
"Unforgiven." (movie reviews) off our backs v23, n6 (June, 1993):18 (2
Johnson, Brian D.
"Unforgiven." (movie reviews) Maclean's v105, n33 (August 17, 1992):50.
"Unforgiven." (movie reviews) New Republic v207, n16 (Oct 12, 1992):36
"Unforgiven." (movie reviews) Nation v255, n7 (Sept 14, 1992):258 (3
"Unforgiven." (movie reviews) Films in Review v43, n11-12 (Nov-Dec,
1992):409 (2 pages).
"Unforgiven." (movie reviews) New Statesman & Society v5, n220 (Sept 18,
1992):31 (2 pages).
"Unforgiven." (movie reviews) Wall Street Journal (Thu, August 6,
1992):A13(W), A11(E), col 1, 10 col in.
"Unforgiven." (movie reviews) TLS. Times Literary Supplement, n4669
(Sept 25, 1992):23.
"Unforgiven." (movie reviews) New Yorker v68, n25 (August 10, 1992):70
"Unforgiven." (movie reviews) Christian Science Monitor v84, n183 (Thu,
August 13, 1992):12, col 2, 22 col in.
"Unforgiven." (movie reviews) Rolling Stone, n637 (August 20, 1992):55
Wall, James M.
"Unforgiven." (movie reviews) Christian Century v109, n28 (Oct 7,
1992):859 (2 pages).
"Clint Eastwood offers a revisionist Western." (completes movie
'Unforgiven') (Living Arts Pages) New York Times v141 (Thu, August 6,
1992):B3(N), C15(L), col 1, 32 col in.
The Wild Bunch (Sam Peckinpa)
Justified Lives: Morality & Narrative in the Films of Sam Peckinpah /
Michael Bliss. Carbondale : Southern Illinois University Press, c1993.
UCB Main PN1998.3.P43 B57 1993
"It's a man's world." (motion pictures featuring fighting men) American
Spectator v28, n6 (June, 1995):56 (2 pages).
Cook, David A.
"The Wild Bunch, Fifteen Years After." North Dakota Quarterly vol. 51
no. 3. 1983 Summer. pp: 123-130.
Reruns: Fifty Memorable Films / by Bosley Crowther. pp: 224-7 New York :
UCB Main PN1995 .C757 1978
Doing it Right: The Best Criticism on Sam Peckinpah's The Wild Bunch /
Edited with an introduction by Michael Bliss. Carbondale: Southern
Illinois University Press, c1994.
UCB Main PN1997.W536133 D6 1994
"Space and Enclosure in Cooper and Peckinpah: Regeneration in the Open
Spaces." Journal of American Culture vol. 14 no. 2. 1991 Summer. pp:
Bloody Sam: The Life and Films of Sam Peckinpah / by Marshall Fine. New
York : D.I. Fine, c1991.
UCB Main PN1998.3.P43 F56 1991
"History into Allegory: "The Wild Bunch" as Vietnam Movie." Western
Humanities Review 35:2 (1981:Summer) 153
"The Final Go-Around: Peckinpah's Wild Bunch at the End of the
Frontier." Mosaic: A Journal for the Interdisciplinary Study of
Literature vol. 16 no. 1-2. 1983 Winter-Spring. pp: 55-70.
Figures of Light; Film Criticism and Comment. pp: 179-83 [1st ed.]. New
York, Harper & Row .
UCB Main PN1995 .K296 1971
UCB Moffitt PN1995 .K296 1971
Kitses, Demetrius John.
Horizons West: Anthony Mann, Budd Boetticher, Sam Peckinpah: Studies of
Authorship within the Western [by] Jim Kitses. London, Thames and
Hudson, 1969. Series title: Cinema one, 12.
UCB Main PN1993 .C45 v.12
UCB Moffitt PN1995.9.W4 K5 (another edition)
Sam Peckinpah / Doug McKinney. Boston: Twayne Publishers, 1979. Series
title: Twayne's theatrical arts series.
UCB Main PN1998.A3 .P4256
Savage Cinema : Sam Peckinpah and the Rise of Ultraviolent Movies / by
Stephen Prince. 1st ed. Austin : University of Texas Press, 1998.
UCB Main PN1998.3.P43 P75 1998
"Bunch Drunk" (Restoration of Peckinpah's The 'Wild Bunch') Sight and
Sound 6: (12) 64-64 DEC 1996
Sam Peckinpah's The Wild Bunch / edited by Stephen Prince. Cambridge;
New York: Cambridge University Press, 1999. Cambridge film handbooks
Main Stack PN1997.W53613.S26 1999
Peckinpah, The Western Films / Paul Seydor. Urbana: University of
Illinois Press, c1980.
UCB Main PN1998.A3 .P4258
UCB Moffitt PN1998.A3 .P4258
UCB Main PN1998.3.P43 S48 1997 (earlier edition)
UCB Moffitt PN1998.3.P43 S48 1997 (earlier edition)
"Bunch continued" (The 1995 restoration of Peckinpah's The 'Wild Bunch')
Sight and Sound 6: (11) 72-72 NOV 1996
"On The Release Of The 'Wild Bunch', Seydor,Paul Celebrates A Director
Who Offers Much More Than Slo-Mo Violence, Plus An Annotated Peckinpah
Filmography." Sight and Sound 5: (10) 18-23 OCT
"Facts about Sam Peckinpah's The 'Wild Bunch'" Sight and Sound 6: (9)
64-64 SEP 1996
"'The Wild Bunch.'" (screenplay; includes excerpts) (column) American
Film v14, n6 (April, 1989):18 (2 pages).
Simons, John L.
"The Tragedy of Love in "The Wild Bunch" Western Humanities Review 39:1
"The Homeric power of Peckinpah's violence." (film director Sam
Peckinpah's 'The Wild Bunch') Atlantic Monthly v273, n6 (June, 1994):116
"Therapeutic Narrative: The Wild Bunch, Jaws, and Vietnam." The Velvet
Light Trap vol. 31. 1993 Spring. pp: 27-38.
Triggs, Jeffery Alan.
"The Wild Bunch: Scourges or Ministers?" New Orleans Review vol. 18 no.
3. 1991 Fall. pp: 64-69.
"Dead man's clothes: the making of 'The Wild Bunch.'" (excerpt from 'If
They Move...Kill 'Em! The Life and Times of Sam Peckinpah') (Cover
Story) Film Comment v30, n3 (May-June, 1994):44 (14 pages).
"Rush in 'Wild' for lost film: docu footage looks behind 'Bunch.'"
(Warner Bros film archivist Bill Rush; new documentary on the making of
'The Wild Bunch')(Los Angeles - Entertainment Town) Variety v365, n3
(Nov 18, 1996):L10 (2 pages).
"Wild Things." Sight and Sound vol. 5 no. 10. 1995 Oct. pp: 24-29.
"Wild Bunch" (review), Cineaste, v3, Winter 1969/70, pp: 18-20
"Wild Bunch" (review), Film Comment, v6, Fall 1970, pp: 55-7
"Wild Bunch" (review),The Nation, v209, July 14, 1969, p61
"Wild Bunch" (review), New York Times, June 26, 1969, p 45
"Wild Bunch" (review), New Yorker, v45, July 5, 1969, pp: 74-5
"Wild Bunch" (review), Sight and Sound, v38, Autumn 1969, pp: 208-9
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