The Wild Bunch is Western genre film that showcases phenomenal directing, editing techniques, revolutionary cinematography and action like no other Western film produced to date. In this film critique, the author will analyze The Wild Bunch through the lens of the genre theory. Genre theory is the application of studying films in order to allow viewers to categorize the films into different groups before they even watch the film. Genre is a type or category of film that allows viewers to have certain expectations about what the movie will be like before actually watching it. For example, the Western genre is set in the American frontier often centering on the life of a cowboy armed with a rifle who rides a horse and fights a gunslinger or …show more content…
Directed by Sam Peckinpah, the directors’ role is to create an atmosphere of trust on the set with all actors and to translate the vision of the story so that the actors carry out the screenplay with success. The Cinematographer, Lucien Ballard, is responsible for the camera crew and capturing images that are produced from the cameras throughout filming. The main actors were William Holden (Pike), Ernest Borgnine (Dutch), Robert Ryan (Thorton), Edmond O’Brien (Sykes), Warren Oates (Lyle), James Sanchez (Angel) and Emilio Fernandez. The actor’s roles is to bring the story to life by artistically living out their characters in the story. The Wild Bunch concept design relies upon a Western action theme of good versus evil. Goodykoontz and Jacobs (2014) noted, “A theme is an idea, subject, or topic of some kind that pervades the plot. It is not so much what “happens,” but rather what the movie is “about,” part of the meaning you are expected to take away from the work” (p. 61). There are multiple themes of The Wild Bunch. First is the awful, bloody violence and killing throughout the film. Second, the end of the outlaw gunfighter era and third the theme of betrayal when The Wild Bunch suffer from their knowledge of having betrayed a friend and left him to his fate, thus violating their own code of honor and conduct which are present throughout the film. This one of a kind Western is …show more content…
A summary of the film begins and ends with two violent, bloody gun battles (Ebert, 2016). The outlaws look for one last score and they find it by striking a deal with a corrupt Mexican General. They are persuaded to hold up a train full of army munitions in exchange for $10,000 and a safe haven from a Mexican General and his troops. The whole time they are planning and carrying out their plot, they are being chased and hunted by a bounty hunter and his crew. In the final scene, the outlaw gang robs a train, but it leads to a violent and blood bath confrontation where hundreds of innocent people are gunned down (America Film Institute, n.d.). Goodykoontz and Jacobs (2014), noted “Typical Westerns deal with maintaining law and order on the frontier, and their conflict derives from easily defined opposites of good vs. evil” (p. 81). During the film The Wild Bunch, the law, in the form of bounty hunters, is always on their heels. While bad guys can be heroes, western movies typically pit the forces of good against evil and audiences typically like to see good triumph over evil. Goodykoontz and Jacobs (2014) note, “In westerns, as in many films, the hero and the villain may often be parallel opposites, two sides of the same coin, so to speak, and representative of the conflicting tendencies within any individual” (p. 81). This is true
My analysis begins, as it will end, where most cowboy movies begin and end, with the landscape.Western heroes are essentially synedoches for that landscape, and are identifiable by three primary traits: first, they represent one side of an opposition between the supposed purity of the frontier and the degeneracy of the city, and so are separated even alienated from civilization; second, they insist on conducting themselves according to a personal code, to which they stubbornly cling despite all opposition or hardship to themselves or others; and third, they seek to shape their psyches and even their bodies in imitation of the leanness, sparseness, hardness, infinite calm and merciless majesty of the western landscape in which their narratives unfold.All of these three traits are present in the figures of Rob Roy and William Wallace--especially their insistence on conducting themselves according to a purely personal definition of honor--which would seem to suggest that the films built around them and their exploits could be read as transplanted westerns.However, the transplantation is the problem for, while the protagonists of these films want to be figures from a classic western, the landscape with which they are surrounded is so demonstrably not western that it forces their narratives into shapes which in fact resist and finally contradict key heroic tropes of the classic western.
Many westerns contain some of the same elements. For instance, almost every western ever made involves a sheriff. He is usually the peace-keeper of a small town overrun by outlaws and cowboys, which he eventually chases out of town or kills. Another element of westerns is a gunslinger. A gunslinger is usually a young man who makes his living shooting other men in showdowns, a classic example is Billy the Kid. Railroads are also a recurring image in westerns. Since the railroad was the major mode of transportation in the old west, it is always present in westerns. Finally, westerns always have a villain. The villain, usually a man, dresses very slick and will stop at nothing in his quest for power. In addition, the villain usually has a gang to carry out his dastardly deeds. The gang is usually full of incompetent, but loyal thugs, who would love to destroy a small town just for the pleasure of wanton destruction. The elements of a western are very simple, but easily manipulated into a very interesting plot.
Bernstein, Matthew. “The Classical Hollywood Western Par Excellence.” Film Analysis: A Norton Reader. Eds. Jeffrey Geiger and R.L. Rutsky. New York: W.W. Norton & Company, 2nd edition, 2013. 298-318.
In the film Stagecoach, the group of individual of differing social standings and classes convene as group of passenger in their journey, attempting to avoid Apache warriors. While each passenger had their own motivations for their journey – some with honorable circumstances such as finding their spouse, and others with less honorable circumstances, such as being forced out of town due to alcoholism or prostitution. Regardless of their backgrounds and context and their motivations, this group of passengers, through the relentless challenges they faced throughout their journey from Tonto to Lordsburg. Although they were coerced to work together under the threat of death from Apache warriors, the team that the passengers formed in Stagecoach
Somewhere out in the Old West wind kicks up dust off a lone road through a lawless town, a road once dominated by men with gun belts attached at the hip, boots upon their feet and spurs that clanged as they traversed the dusty road. The gunslinger hero, a man with a violent past and present, a man who eventually would succumb to the progress of the frontier, he is the embodiment of the values of freedom and the land the he defends with his gun. Inseparable is the iconography of the West in the imagination of Americans, the figure of the gunslinger is part of this iconography, his law was through the gun and his boots with spurs signaled his arrival, commanding order by way of violent intentions. The Western also had other iconic figures that populated the Old West, the lawman, in contrast to the gunslinger, had a different weapon to yield, the law. In the frontier, his belief in law and order as well as knowledge and education, brought civility to the untamed frontier. The Western was and still is the “essential American film genre, the cornerstone of American identity.” (Holtz p. 111) There is a strong link between America’s past and the Western film genre, documenting and reflecting the nations changes through conflict in the construction of an expanding nation. Taking the genres classical conventions, such as the gunslinger, and interpret them into the ideology of America. Thus The Western’s classical gunslinger, the personification of America’s violent past to protect the freedoms of a nation, the Modernist takes the familiar convention and buries him to signify that societies attitude has change towards the use of diplomacy, by way of outmoding the gunslinger in favor of the lawman, taming the frontier with civility.
The novel, The Call of the Wild, follows a four-year-old mixed Saint Bernard and Scottish shepherd, named Buck. In the beginning of the story, Buck lives in the home of Judge Miller, located at Santa Clara Valley, California. In Santa Clara, Buck lives a luxurious life. At the time of the story, gold is discovered in the North. With this discovery, the value of large dogs like Buck escalated dramatically. The dog’s value was due most to their ability to haul heavy sleds through the abundant snow. Unfortunately, Judge Miller’s servant, Manuel steals Buck to sell him to a band of dog-nappers to pay for his accumulating gambling debts. The ring of thieves that bought Buck is gaining a secure banking by trading the dog to northern executives. Buck, who has had an easy life so far, does not adapt well to the terrain as the other canines do. Buck does not easily tolerate the confinement and mistreatment of his new authority. Buck’s gains the misconception, which then is an aide that any man with a club is a dominator and must be obeyed.
Barry, , Keith, and Grant, ed. Film Genre Reader III. Austin, TX: University of Texas Press,
Defining a film genre is in some ways difficult and simplistic. Every genre has stated what would define its boundaries. The difficult part is finding one that is solidified by the movies in the genre. The stated definition that this paper will digest and regurgitate is that a Western is a film which is set in the American frontier west. The typical time setting is somewhere in the mid to late 19th century and early 20th century(Dirks, 1). They glorify the past-fading values and aspirations of the mythical by-gone age of the American West(Dirks, 1). Over time, however, Westerns have been redefined, re-invented and expanded, dismissed, re-discovered, and spoofed. This actually makes the definition more lucid, making other films flexible enough to fit quite nicely into the genre.
In “The Thematic Paradigm,” Robert Ray explains how there are two vastly different heroes: the outlaw hero and the official hero. The official hero has common values and traditional beliefs. The outlaw hero has a clear view of right and wrong but unlike the official hero, works above the law. Ray explains how the role of an outlaw hero has many traits. The morals of these heroes can be compared clearly. Films that contain official heroes and outlaw heroes are effective because they promise viewer’s strength, power, intelligence, and authority whether you are above the law or below it.
In “The Thematic Paradigm,” University of Florida professor of film studies, Robert Ray, defines two types of heroes pervading American films, the outlaw hero and the official hero. Often the two types are merged in a reconciliatory pattern, he argues. In fact, this
Few Hollywood film makers have captured America’s Wild West history as depicted in the movies, Rio Bravo and El Dorado. Most Western movies had fairly simple but very similar plots, including personal conflicts, land rights, crimes and of course, failed romances that typically led to drinking more alcoholic beverages than could respectfully be consumed by any one person, as they attempted to drown their sorrows away. The 1958 Rio Bravo and 1967 El Dorado Western movies directed by Howard Hawks, and starring John Wayne have a similar theme and plot. They tell the story of a sheriff and three of his deputies, as they stand alone against adversity in the name of the law. Western movies like these two have forever left a memorable and lasting impressions in the memory of every viewer, with its gunfighters, action filled saloons and sardonic showdowns all in the name of masculinity, revenge and unlawful aggressive behavior. Featuring some of the most famous backdrops in the world ranging from the rustic Red Rock Mountains of Monument Valley in Utah, to the jagged snow capped Mountain tops of the Teton Range in Wyoming, gun-slinging cowboys out in search of mischief and most often at their own misfortune traveled far and wide, seeking one dangerous encounter after another, and unfortunately, ending in their own demise.
The Call of the Wild, by Jack London, is a classic piece of American literature. The novel follows the life of a dog named Buck as his world changes and in turn forces him to become an entirely new dog. Cruel circumstances require Buck to lose his carefree attitude and somewhat peaceful outlook on life. Love then enters his life and causes him to see life through new eyes. In the end, however, he must choose between the master he loves or the wildness he belongs in.
The image created for the outlaw hero is the “natural man.” They are adventurous but also wanderers, and loners. Outlaw heroes are more likely to commit a crime, use weapons and carry guns. The outlaw hero represents self-determination and freedom from conflicts. On the other hand, the official hero is portrayed to be “the civilized” man. He often follows the norms of society, and has typical roles such as a lawyer, teacher, and family man.
The plot of this movie is about the struggle between the farmers and the cowboys. The farmers all want to start up crops, but the cowboys want to run their cattle through the open space so they can feed. Obviously, the two sides don’t agree. The cowboys end up attempting to use strong-arm tactics to get their way. They even try to scare the farmers off the land by burning down one of the homes of the farmers. Eventually, Shane, a former gunfight, realizes what he must do. He rides into town and kills all of the cowboys, including Wilson, the hired gun.
The storyline is normally about a hero who comes to a town to bring peace and drive the villains out. A hero is usually seen as a vigilante as he is not told to come to help but does anyway. The hero often appears as a quiet, secretive, mysterious person who may make the audience admire him one minute and dislike him the next, he is also a very smart, cunning and adaptable which are all good values in a hero. The villain is usually fixed to one idea he thinks it is a smart cunning person but in the end is always defeated. Many scenes are set around the Saloon (bar) and there is quite often a romance involved with the hero and a local girl, the villain competing for her affections! There are two different types of villains in typical westerns Native Americans and white villains (cowboys).