12:30 AM EST tonight


You may have seen this restored version before. It's been available in this form for more than 20 years.

Below is Roger Ebert's 1995 review of this cut. People remember Sam Peckinpah for the violence in his films, at least they used to, before blood and overt violence became so very commonplace in the movies. The Wild Bunch was groundbreaking in that respect, eclipsing Arthur Penn's Bonnie & Clyde from two years earlier. The final shootout scene in TWB is an orgy of violence, and that's what people remember.

But, the truth is that despite this and despite Peckinpah's struggle with drugs, the man was a certified genius. He made a film at the beginning of his movie career- Ride the High Country- which has the feel of a veteran director at the end of a long career. To me, Peckinpah is one of the greats.


Here's Ebert's review:

In an early scene of "The Wild Bunch," the bunch rides into town past a crowd of children who are gathered with excitement around their game. They have trapped a scorpion and are watching it being tortured by ants. The eyes of Pike (William Holden), leader of the bunch, briefly meet the eyes of one of the children. Later in the film, a member of the bunch named Angel is captured by Mexican rebels and dragged around the town square behind one of the first automobiles anyone there has seen. Children run after the car, laughing. Near the end of the film, Pike is shot by a little boy who gets his hands on a gun.

The message here is not subtle, but then Sam Peckinpah was not a subtle director, preferring sweeping gestures to small points.

It is that the mantle of violence is passing from the old professionals like Pike and his bunch, who operate according to a code, into the hands of a new generation that learns to kill more impersonally, as a game, or with machines.

The movie takes place in 1913, on the eve of World War I.

"We gotta start thinking beyond our guns," one of the bunch observes.

"Those days are closing fast." And another, looking at the newfangled auto, says, "They're gonna use them in the war, they say." It is not a war that would have meaning within his intensely individual frame of reference; he knows loyalty to his bunch, and senses it is the end of his era.

This new version of "The Wild Bunch," carefully restored to its original running time of 144 minutes, includes several scenes not widely seen since the movie had its world premiere in 1969. Most of them fill in details from the earlier life of Pike, including his guilt over betraying Thornton (Robert Ryan), who was once a member of the bunch but is now leading the posse of bounty hunters on their trail. Without these scenes, the movie seems more empty and existential, as if Pike and his men seek death after reaching the end of the trail. With them, Pike's actions are more motivated: He feels unsure of himself and the role he plays.

I saw the original version at the world premiere in 1969, as part of a week-long boondoggle during which Warner Bros. screened five of its new films in the Bahamas for 450 critics and reporters.

It was party time, not the right venue for what became one of the most controversial films of its time - praised and condemned with equal vehemence, like "Pulp Fiction." At a press conference the following morning, Holden and Peckinpah hid behind dark glasses and deep scowls. After a reporter from Reader's Digest got up to attack them for making the film, I stood up in defense; I felt, then and now, that "The Wild Bunch" is one of the great defining moments of modern movies.

But no one saw the 144-minute version for many years. It was cut. Not because of violence (only quiet scenes were removed), but because it was too long to be shown three times in an evening. It was successful, but it was read as a celebration of compulsive, mindless violence; see the uncut version, and you get a better idea of what Peckinpah was driving at.

The movie is, first of all, about old and worn men. Holden and his fellow actors (Ernest Borgnine, Warren Oates, Edmund O'Brien, Ben Johnson and the wonderful Robert Ryan) look lined and bone-tired.

They have been making a living by crime for many years, and although Ryan is now hired by the law, it is only under threat that he will return to jail if he doesn't capture the bunch. The men provided to him by a railroad mogul are shifty and unreliable; they don't understand the code of the bunch.

And what is that code? It's not very pleasant. It says that you stand by your friends and against the world, that you wrest a criminal living from the banks, the railroads and the other places where the money is, and that while you don't shoot at civilians unnecessarily, it is best if they don't get in the way.

The two great violent set-pieces in the movie involve a lot of civilians. One comes through a botched bank robbery at the beginning of the film, and the other comes at the end, where Pike looks at Angel's body being dragged through the square, and says "God, I hate to see that," and then later walks into a bordello and says, "Let's go," and everybody knows what he means, and they walk out and begin the suicidal showdown with the heavily armed rebels.

Lots of bystanders are killed in both sequences (one of the bunch picks a scrap from a woman's dress off of his boot), but there is also cheap sentimentality, as when Pike gives gold to a prostitute with a child, before walking out to die.

In between the action sequences (which also include the famous scene where a bridge is bombed out from beneath mounted soldiers), there is a lot of time for the male bonding that Peckinpah celebrated in most of his films. His men shoot, screw, drink, and ride horses.

The quiet moments, with the firelight and the sad songs on the guitar and the sweet tender prostitutes, are like daydreams, with no standing in the bunch's real world. This is not the kind of film that would likely be made today, but it represents its set of sad, empty values with real poetry.

The undercurrent of the action in "The Wild Bunch" is the sheer meaninglessness of it all. The first bank robbery nets only a bag of iron washers - "a dollar's worth of steel holes." The train robbery is well-planned, but the bunch cannot hold onto their takings. And at the end, after the bloodshed, when the Robert Ryan character sits for hours outside the gate of the compound, just thinking, there is the payoff: A new gang is getting together, to see what jobs might be left to do. With a wry smile he gets up to join them. There is nothing else to do, not for a man with his background.

The movie was photographed by Lucien Ballard, in dusty reds and golds and browns and shadows. The editing, by Lou Lombardo, uses slow motion to draw the violent scenes out into meditations on themselves.

Every actor was perfectly cast to play exactly what he could play; even the small roles need no explanation. Peckinpah possibly identified with the wild bunch. Like them, he was an obsolete, violent, hard-drinking misfit with his own code, and did not fit easily into the new world of automobiles, and Hollywood studios.

Seeing this restored version is like understanding the film at last. It is all there: Why Pike limps, what passed between Pike and Thornton in the old days, why Pike seems tortured by his thoughts and memories. Now, when we watch Ryan, as Thornton, sitting outside the gate and thinking, we know what he is remembering. It makes all the difference in the world.

Thanks for sharing. This is one of my favorite movies but I've never seen this version.

I saw it when it first came out. I think it is a great movie. I saw it in a theater in downtown Washington, D.C. I think it was Loew's Palace on F street. It blew me away. You used to be able to sit in the theater and watch the movie again. I watched it twice. I do not know how many times I have seen it since. I know a local drive in movie theater used to do an all night western movie thing sometimes. All of the Clint Eastwood Man with No Name movies and the Wild Bunch. I also saw it at the American Film Institute series at the Kennedy Center. It was one of the first movies I got on VHS. I also have the Directors cut on DVD. I think it is a must see movie.

Thanks for the heads up! I've got my DVR set to record it while I sleep, tomorrow is a work day after all!

I saw this movie right when it came out.

I was at Ft. Lewis Wash. at the time and loved that movie.

I bought it on Laser disc years later.

Think I still have it...still have my laser player too.

Shit. A day late and a movie short.
I have the “standard” version on DVD and watch it every so often. Would have loved to have seen this.
Maybe I’ll check with Amazon for this director’s cut.

We want Angel

I watched The Bridge On The River Kwai again recently and was reminded that I've never liked William Holden and never understood his popularity. I also thought at the time that The Wild Bunch was one movie I did like him in.

A director I greatly admire, a film loved by me, but misunderstood by many and in the original 144min cut....and I miss it.

Damn. Pray it plays soon again. I miss old rep theaters.

The Director's Cut of The Wild Bunch is the one included in Peckinpah's "The Legendary Westerns Collection" that also features Ride The High Country, The Ballad Of Cable Hogue, and one of my favorite westerns, Pat Garrett And Billy The Kid. I bought the set at para's suggestion some time ago and would echo his recommendation.

Screenwriter Alan Sharp said that the shootout sequence in TWB exuded itsef from Peckinpah's psyche. Peckinpah had no peace in his later life and there are indications that he was paranoid schizophrenic but he never received any treatment.

Peckinpah had a cameo in Pat Garrett & Billy the Kid, in which he says to James Coburn playing Pat Garrett:

"When are you going to learn that you can't trust anybody, not even yourself?"

Peckinah wrote that line and it is the closest he ever came to revealing his true self through his films. It's very sad that he ended up the way he did. He knew that every film he made after TWB would be compared to it and he knew- due to his fighting with the entire world- that he could never again hit that mark, and this, along with his mental illness and heavy, heavy drug use, destroyed him.

I hope he was in touch enough to find some comfort in having made TWB. With so many ground breaking movies coming out at that time, I don't see any standing above this film.

Pat Garrett & Billy the Kid is, to me, Peckinpah's greatest achievement. It's the most revisionist of any Revisionist Western (Evis Mitchell says that he expected Kristofferson to come driving into a scene in a convertible Cadillac El Dorado) and it's a beautiful, lyrical film portraying a complex relationship between the two main characters.

AT the beginning of the film there is a conversation between Garrett and the Kid after Garrett is made sheriff, that begins with good to see you and ends with a stare down and don't-push-your-luck talk.
Aftr Garrett leaves, someone asks the Kid when is he going to get around to killing Garrett and the Kid responds with a rhetorical question of why would I do that and then says that Garrett is is his friend. If you want to find Peckinpah, he's just below the surface in that scene.

That's rather Scorsese-esque; men who love each other but might kill each other.

Lyrical, indeed. The interplay between Pat Garret and the man rafting down the river with his children is just that. Leaning against a tree, Pat sees a man on the raft is shooting at some unimportant target, so Pat takes his rifle and joins in on shooting at the object. And the man takes offense at Garrett's arrogance at inviting himself to take part in the man's passing of the time.

So, the man fires at Garrett. Garrett takes cover behind a tree and keeps shooting at the object just as the man keeps firing at Garrett.

That man, resenting Pat for trying to join him, symbolizes the individuality, the man struggling by himself in the Old West, which seems to be nearly impossible now.

With the closing of the west by rich, powerful men fencing off and owning huge acreage so that they can become ever richer, more powerful men, the little man adrift and alone finds it harder and harder to find a place of his own. So, this man, shooting at nothing, takes umbrage at Garrett's trying to horn in on what is now something.

I was fortunate to see it on the big screen at a rep theater and the slow-motion scenes are almost ballet-like. It says so many things, so many ways, it's hard to express.