I mention this more as a head's up to Corwood in case he doesn't know, but I got a copy of THE OSTERMAN WEEKEND yesterday. I didn't realize the Anchor Bay version was a two-disc set, the second of which has Peckinpah's original first cut of the film. I have not idea what shape that's in, but I'm really curious to check it out now. Hopefully this weekend.

I didn't realize the Anchor Bay version was a two-disc set, the second of which has Peckinpah's original first cut of the film. I have not idea what shape that's in, but I'm really curious to check it out now. Hopefully this weekend.

I've never seen the original cut, so I'm definitely interested to hear what you think. Is it less a mess? Does the plot make any sense at all? Inquiring minds want to know.

I've never seen the original cut, so I'm definitely interested to hear what you think. Is it less a mess? Does the plot make any sense at all? Inquiring minds want to know.

I'll definitely post a response here. I've only seen the release version once, years ago. I remember it being a mess, but I also remember enjoying it just the same, mainly due to all the actorly goodness (and I always thought Meg Foster was a hottie - probably why I gave Elizabeth Rohlm a bit of a free pass on Angel).

I rented it a couple of years ago when The High Hat did our Peckinpah issue. I remember plot holes and inconsistencies that showcased the mind of a coke-addled director trying to work with a terrible and demanding producer, which is pretty much what it was. Peckinpah had been blacklisted in Hollywood for being too difficult, a reputation that he had earned many times over, and was trying to cut down on the coke and get his career on track by actually cooperating with the producer on Osterman. Unfortunately, the script didn't make much sense and the producer was as crazy as he was, meaning that his reputation (if possible) sank even further. The only thing he directed afterwards were two Julian Lennon videos. Pretty sad stuff.

I recently read the Weddle (Widdle?) bio of S.P., and, yeah, the decline was horrifically sad. There were still flashes of brilliance at the end (some of the stuff in THE KILLER ELITE is almost as good as Pauline Kael thought it was, for example, and ALFREDO GARCIA is some kind of shambling, monsterous masterpiece), but flashes aside, I don't think he ever recovered after PAT GARRETT (which has it's own enormous problems, though I've never seen the longer version).

He really was his own worst enemy, but he also seemed to have plenty of help.

I think I said this before, but I loved that issue of THE HIGH HAT.

Yeah, the Weddle bio was great. The Seydor book is also worth reading, too, if you have the time & interest. The Fine book is sorta redundant after reading the other two, though.

ALFREDO GARCIA is some kind of shambling, monsterous masterpiece

Damn straight. That movie is brilliant.

I don't think he ever recovered after PAT GARRETT (which has it's own enormous problems, though I've never seen the longer version

I have a VHS copy of the supposedly perfect Laserdisc, which is occasionally brilliant but heavily weighed down by its existential angst. The framing device, in which an older Garrett is shot by the same land interest with whom he colluded to bring down Billy, works better than the versions without it.

He really was his own worst enemy, but he also seemed to have plenty of help.

Oh yeah. Everyone thought that was just Sam being Sam. He sounds like a miserable fuckhead to me, but I didn't know the guy; I merely admire him from afar.

I think I said this before, but I loved that issue of THE HIGH HAT.

Thanks! We've been talking about pitching it as a book with expanded entries and such, but I'm really not sure how to undertake such a venture and have no time for it right now.

Serial here, but just to toot my own horn, a guy who runs a site on Taoism loved my article on Junior Bonner. He emailed me that he's since watched it and now considers it one of his favorite movies. That's the thing about Peckinpah -- people think about his raw, violent, explode-the-macho movies and forget how much pure sweetness he was capable of. My wife, who does not love Mr. Peckinpah, no, recently watched Cable Hogue with me and loved the hell out of it.

My wife, who does not love Mr. Peckinpah, no, recently watched Cable Hogue with me and loved the hell out of it.

The imminent release of MAJOR DUNDEE has me hoping that maybe CABLE HOGUE and PAT GARRETT will follow, but who knows.

It's a crime that they aren't available, let alone that Ride the High Country, which is almost the equal of The Wild Bunch, is only available as a pan-and-scan VHS. And Noon Wine, because it appeared on tv, is completely unavailable to the general public. Someone's asleep at the wheel at Criterion.

And Noon Wine, because it appeared on tv, is completely unavailable to the general public.

Aren't there only like two or three copies of that in existence, and two of them are in national archives (Libarary of Congress being one, I think)?