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The Wild Bunch -article by David Cook + References

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 
dramatic feature.)
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 


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
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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.

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Farber, Stephen, "Peckinpah's Return: An Interview," in Film Quarterly (Berkeley), Fall 1969.
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Sragow, Michael, in Film Society Review (New York), November 1969.
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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.
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Shaffer, Lawrence, "The Wild Bunch versus Straw Dogs," in Sight and Sound (London), Summer 1972.
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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.
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Camy, G., "Sur le sentier de l'oubli: Sam Peckinpah," in Jeune Cinéma (Paris), April-May 1982.
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Open Spaces," in Journal of American Culture (Bowling Green, Ohio), no. 2, 1991.
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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.
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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) 
        Aleiss, Angela. 
        "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 
        Ceplair, Larry. 
        "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 
        Manchel, Frank. 
        "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 
        Manchel, Frank. 
        "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 
        and Life] 
        Tuska, Jon. 
        The Filming of the West. 1st ed. pp: 533-4. Garden City, N.Y.: 
        Doubleday, 1976. 
        UCB Main PN1995.9.W4 T81 
        UCB Moffitt PN1995.9.W4 T8 
        Umland, Sam. 
        "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), 
        pp.: 528-29 
        "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), 
        pp.: 93-4 
        "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), 
        pp: 29-30 
        "Buffalo Bill and the Indians" (review)Sight and Sound, 30 (Fall 1976), 
        pp: 54-60 
        Karp, Alan. 
        The Films of Robert Altman. pp: 75-82 Metuchen, N.J.: Scarecrow Press, 
        Main Stack PN1998.A3.A5765 
        Plecki, Gerard 
        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) 
        Alleva, Richard. 
        "Unforgiven." (movie reviews) Commonweal v119, n17 (Oct 9, 1992):21 (2 
        Ansen, David. 
        "Unforgiven." (movie reviews) Newsweek v120, n6 (August 10, 1992):52. 
        Blake, Richard A. 
        "Unforgiven." (movie reviews) America v167, n6 (Sept 12, 1992):144 (2 
        Bowman, James. 
        "Unforgiven." (movie reviews) American Spectator v25, n10 (Oct, 1992):53 
        (2 pages). 
        Brod, Harry. 
        "Unforgiven." (movie reviews) Tikkun v8, n3 (May-June, 1993):30. 
        Bromwich, David. 
        "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. 
        Canby, Vincent. 
        "Unforgiven." (movie reviews) (Living Arts Pages) New York Times v141 
        (Fri, August 7, 1992):B1(N), C1(L), col 1, 23 col in. 
        Corliss, Richard. 
        "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). 
        Denby, David. 
        "Unforgiven." (movie reviews) New York v25, n33 (August 24, 1992):119 (2 
        Frayling, Christopher. 
        "Unforgiven." (movie reviews) Sight and Sound v2, n6 (Oct, 1992):58. 
        Greenberg, Harvey R. 
        "Unforgiven." (movie reviews) Film Quarterly v46, n3 (Spring, 1993):52 
        (5 pages). 
        Hamers, Alice. 
        "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. 
        Kauffmann, Stanley. 
        "Unforgiven." (movie reviews) New Republic v207, n16 (Oct 12, 1992):36 
        (3 pages). 
        Klawans, Stuart. 
        "Unforgiven." (movie reviews) Nation v255, n7 (Sept 14, 1992):258 (3 
        Pawelczak, Andy. 
        "Unforgiven." (movie reviews) Films in Review v43, n11-12 (Nov-Dec, 
        1992):409 (2 pages). 
        Romney, Jonathan. 
        "Unforgiven." (movie reviews) New Statesman & Society v5, n220 (Sept 18, 
        1992):31 (2 pages). 
        Salamon, Julie. 
        "Unforgiven." (movie reviews) Wall Street Journal (Thu, August 6, 
        1992):A13(W), A11(E), col 1, 10 col in. 
        Sinclair, Clive. 
        "Unforgiven." (movie reviews) TLS. Times Literary Supplement, n4669 
        (Sept 25, 1992):23. 
        Sragow, Michael. 
        "Unforgiven." (movie reviews) New Yorker v68, n25 (August 10, 1992):70 
        (2 pages). 
        Sterritt, David. 
        "Unforgiven." (movie reviews) Christian Science Monitor v84, n183 (Thu, 
        August 13, 1992):12, col 2, 22 col in. 
        Travers, Peter. 
        "Unforgiven." (movie reviews) Rolling Stone, n637 (August 20, 1992):55 
        (2 pages). 
        Wall, James M. 
        "Unforgiven." (movie reviews) Christian Century v109, n28 (Oct 7, 
        1992):859 (2 pages). 
        Weinraub, Bernard. 
        "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) 
        Bliss, Michael 
        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 
        Bowman, James. 
        "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. 
        Crowther, Bosley. 
        Reruns: Fifty Memorable Films / by Bosley Crowther. pp: 224-7 New York : 
        Putnam, c1978. 
        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 
        Engel, Leonard. 
        "Space and Enclosure in Cooper and Peckinpah: Regeneration in the Open 
        Spaces." Journal of American Culture vol. 14 no. 2. 1991 Summer. pp: 
        Fine, Marshall 
        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 
        Galperin, William 
        "History into Allegory: "The Wild Bunch" as Vietnam Movie." Western 
        Humanities Review 35:2 (1981:Summer) 153 
        Graham, Allison. 
        "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. 
        Kauffmann, Stanley 
        Figures of Light; Film Criticism and Comment. pp: 179-83 [1st ed.]. New 
        York, Harper & Row [1971]. 
        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) 
        McKinney, Doug. 
        Sam Peckinpah / Doug McKinney. Boston: Twayne Publishers, 1979. Series 
        title: Twayne's theatrical arts series. 
        UCB Main PN1998.A3 .P4256 
        Prince, Stephen 
        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 
        Robertson, S. 
        "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 
        Seydor, Paul 
        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) 
        Seydor P 
        "Bunch continued" (The 1995 restoration of Peckinpah's The 'Wild Bunch') 
        Sight and Sound 6: (11) 72-72 NOV 1996 
        Seydor P 
        "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 
        Seydor P 
        "Facts about Sam Peckinpah's The 'Wild Bunch'" Sight and Sound 6: (9) 
        64-64 SEP 1996 
        Shelton, Ron. 
        "'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 
        (1985:Spring) 1 
        Sragow, Michael. 
        "The Homeric power of Peckinpah's violence." (film director Sam 
        Peckinpah's 'The Wild Bunch') Atlantic Monthly v273, n6 (June, 1994):116 
        (6 pages). 
        Torry, Robert. 
        "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. 
        Weddle, David. 
        "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). 
        Weddle, David. 
        "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). 
        Weddle, David. 
        "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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