"If They Move . . . Kill 'Em!"
The Life and Times of Sam Peckinpah
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- ¥1,600
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- ¥1,600
発行者による作品情報
"A probing biography of the enfant terrible of 1960s and 1970s film-making . . . exhaustive and endlessly intriguing." —Booklist
Written by the film critic and historian David Weddle, this fascinating account does critical justice to an important body of cinema as it spins the tale of David Samuel Peckinpah's dramatic, overcharged life and the turbulent times through which he moved.
Sam Peckinpah was born into a clan of lumberjacks, cattle ranchers, and frontier lawyers. After a hitch with the Marines, he made his way to Hollywood, where he worked on a string of low-budget features. In 1955 he began writing scripts for Gunsmoke; in less than a year he was one of the hottest writers in television, with two classic series, The Rifleman and The Westerner, to his credit. From there he went on to direct a phenomenal series of features, including Ride the High Country, Straw Dogs, The Getaway, Pat Garrett and Billy the Kid, and The Wild Bunch.
Peckinpah was both a hopeless romantic and a grim nihilist, a filmmaker who defined his era as much as he was shaped by it. Rising to prominence in the social and political upheaval of the late sixties and early seventies, Peckinpah and his generation of directors—Stanley Kubrick, Arthur Penn, Robert Altman—broke with convention and turned the traditional genres of Western, science fiction, war, and detective movies inside out. No other era in Hollywood has matched it for sheer energy, audacity, and originality; no one cut a wider path through that time than Sam Peckinpah.
"Groundbreaking." —Michael Sragow, The Atlantic
PUBLISHERS WEEKLY
This biography portrays writer-director Peckinpah (1925-1984) as a gifted man at war with Hollywood, his four wives and himself. The signature of a Peckinpah film like The Wild Bunch or Pat Garrett and Billy the Kid is an audaciously protracted, viscerally exciting brawl or shootout. The gravity of such carefully crafted sequences stems from their integration into psychologically nuanced narratives and from their moral ambiguity: in Peckinpah's world, even the ``best'' of men are capable of harrowing and unbidden acts of violence. Such a finely honed moral sense separates Peckinpah from his noisier imitators and speaks to his struggle to reconcile his aesthetic sensibility with the austere machismo he inherited from the unsentimental and self-reliant men in his family. Yet, as film critic and historian Weddle shows, the volatility of the filmmaker's temperament gets the upper hand, hastening his artistic and personal decline.
