By Ian Cooper
In 1974, The Wall road Journal referred to as this motion picture "grotesque, sadistic, irrational, obscene, incompetent," whereas New York Magazine declared it "a catastrophe." Upon its preliminary liberate, Sam Peckinpah´s infamous paintings took a severe and advertisement nosedive, yet in later years, the paintings was once heralded as a demented masterpiece--a violent, hallucinatory autobiography and an excellent instance of "pure Peckinpah." This learn revisits the making of this arguable movie, in addition to its unique reception and next reassessment. It reads the venture as an auteur paintings, a style movie, a confession, and a strange self-parody.
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Extra resources for Bring Me the Head of Alfredo Garcia
It’s the kind of loss you never get over’ (1999). For Richard Luck, Oates was a creature of his turbulent times, a kind of Henry Fonda for the cynical, violent 1970s: the effects of corruption and double-cross were writ large in the leer, filthy mane and craven eyes of Warren Oates … As a thug or a bully, cowhand or hired gun, bank robber or cockfighter, Warren Oates gave the American movie-going public a chance to look at itself, to see what it had become in the years between Korea and Grenada.
Indb 53 53 24/05/2011 18:33 C ULTOGRAPHIE S he could be both concerned citizen (‘I’m afraid to walk the streets of New York or Los Angeles’ (quoted in Fine 2005: 275)) and macho boor (‘Somebody asked if I hit women and I said of course I do. )), serious artist (‘The truth, to me as I see it, is more important than entertainment for its own sake’ (quoted in Prince 1998: v)) and chauvinist pig (‘There’s women and there’s pussy’ (quoted in Fine 2005: 275), dismissing feminists as ‘those bull dykes and the crazies in their tennis sneakers and burlap sacks’ (in Murray 2008: 106)).
Electric Sheep magazine summed it up as ‘like Peckinpah himself, a mixture of the very, very good and the very, very bad’ (Long 2009) while for Nigel Andrews in the Financial Times, it ‘makes Peckinpah’s early benchmark essay in violence, The Wild Bunch, look like a mild stroll in an abbatoir’ (2009). ALFREDO ONLINE The Internet is a boon to those studying film reception, making, as Mike Chopra-Gant suggests ‘fans’ activities and discussions … more available for analysis’ (2008: 19), allowing ‘fans across the world to communicate with each other’ (Jancovich et al.