Podcasts about peckinpah

Mit Joe, Luke & TedNach dem Western-Epos von The Wild Bunch kommt von Peckinpah etwas ganz anderes.Comedy? Romantik? Kaum Gewalt? Wir besprechen: THE BALLAD OF CABLE HOGUE / ABGERECHNET WIRD ZUM SCHLUSS!Viel Spaß!PFG Main Feed: https://anchor.fm/planet-film-geekwww.planetfilmgeek.comfacebook.com/PlanetFilmGeekinstagram.com/planetfilmgeekplanetfilmgeek@gmail.comletterboxd.com/movieschmidtletterboxd.com/tadiciletterboxd.com/lukepfgletterboxd.com/ninjasteinPlakat zu "The Ballad of Cable Hogue" © 1970 Warner Bros. GmbHMusic by Kevin MacLeod"Rollin at 5""Rollin at 5 - electronic"www.incompetech.comLicensed under Creative Commons: By Attribution 3.0 creativecommons.org/licenses/by/3.0/

Mit Joe, Luke & TedNach dem Western-Epos von The Wild Bunch kommt von Peckinpah etwas ganz anderes.Comedy? Romantik? Kaum Gewalt? Wir besprechen: THE BALLAD OF CABLE HOGUE / ABGERECHNET WIRD ZUM SCHLUSS!Viel Spaß!Unser Feed nur für Directed by: https://anchor.fm/pfg-directed-bywww.planetfilmgeek.comfacebook.com/PlanetFilmGeekinstagram.com/planetfilmgeekplanetfilmgeek@gmail.comletterboxd.com/movieschmidtletterboxd.com/tadiciletterboxd.com/lukepfgletterboxd.com/ninjasteinPlakat zu "The Ballad of Cable Hogue" © 1970 Warner Bros. GmbHMusic by Kevin MacLeod"Rollin at 5""Rollin at 5 - electronic"www.incompetech.comLicensed under Creative Commons: By Attribution 3.0 creativecommons.org/licenses/by/3.0/

durée : 00:59:01 - Toute une vie - par : Michel Pomarède - Figure majeure du western crépusculaire, Sam Peckinpah dit "Bloody Sam", impose une esthétique choc où la violence, filmée au ralenti, devient ballet funèbre. Entre rage politique et visions lyriques, son cinéma dynamite les mythes américains et révèle une masculinité blessée, en marche vers sa fin. - réalisation : Charlotte Roux, Emmanuel Laurentin, Sandrine Chapron, Redouane Malek Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:59:01 - Toute une vie - par : Michel Pomarède - Figure majeure du western crépusculaire, Sam Peckinpah dit "Bloody Sam", impose une esthétique choc où la violence, filmée au ralenti, devient ballet funèbre. Entre rage politique et visions lyriques, son cinéma dynamite les mythes américains et révèle une masculinité blessée, en marche vers sa fin. - réalisation : Charlotte Roux

durée : 00:59:01 - Les documentaires de France Culture - par : Michel Pomarède - Figure majeure du western crépusculaire, Sam Peckinpah dit "Bloody Sam", impose une esthétique choc où la violence, filmée au ralenti, devient ballet funèbre. Entre rage politique et visions lyriques, son cinéma dynamite les mythes américains et révèle une masculinité blessée, en marche vers sa fin. - réalisation : Charlotte Roux, Emmanuel Laurentin, Sandrine Chapron, Redouane Malek Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:59:01 - Toute une vie - par : Michel Pomarède - Figure majeure du western crépusculaire, Sam Peckinpah dit "Bloody Sam", impose une esthétique choc où la violence, filmée au ralenti, devient ballet funèbre. Entre rage politique et visions lyriques, son cinéma dynamite les mythes américains et révèle une masculinité blessée, en marche vers sa fin. - réalisation : Charlotte Roux

Time Ram goes north of the border as we evaluate missing classic 'The Highlanders' in it's new position in the Tom Baker era. At least we can see it now! And what a gem it is, with Lulu in a beard, 6 foot 3 inch washerwomen, and Peckinpah-levels of blood on screen. Plus we learn: who do you call a peasant?

Mit Joe, Luke & TedSam Peckinpahs Karriere nimmt Fahrt auf – und wie. Nach dem Desaster von Major Dundee folgt ein Film, der die Westerngeschichte für immer verändern sollte. Brutale Schusswechsel, ein Haufen Verlierer auf der Flucht und Peckinpah ganz in seinem Element. Wir besprechen: THE WILD BUNCH / SIE KANNTEN KEIN GESETZ!Viel Spaß!PFG Main Feed: https://anchor.fm/planet-film-geekwww.planetfilmgeek.comfacebook.com/PlanetFilmGeekinstagram.com/planetfilmgeekplanetfilmgeek@gmail.comletterboxd.com/movieschmidtletterboxd.com/tadiciletterboxd.com/lukepfgletterboxd.com/ninjasteinPlakat zu "The Wild Bunch" © 1969 Warner Bros. GmbHMusic by Kevin MacLeod"Rollin at 5""Rollin at 5 - electronic"www.incompetech.comLicensed under Creative Commons: By Attribution 3.0 creativecommons.org/licenses/by/3.0/

Mit Joe, Luke & TedSam Peckinpahs Karriere nimmt Fahrt auf – und wie. Nach dem Desaster von Major Dundee folgt ein Film, der die Westerngeschichte für immer verändern sollte. Brutale Schusswechsel, ein Haufen Verlierer auf der Flucht und Peckinpah ganz in seinem Element. Wir besprechen: THE WILD BUNCH / SIE KANNTEN KEIN GESETZ!Viel Spaß!Unser Feed nur für Directed by: https://anchor.fm/pfg-directed-bywww.planetfilmgeek.comfacebook.com/PlanetFilmGeekinstagram.com/planetfilmgeekplanetfilmgeek@gmail.comletterboxd.com/movieschmidtletterboxd.com/tadiciletterboxd.com/lukepfgletterboxd.com/ninjasteinPlakat zu "The Wild Bunch" © 1969 Warner Bros. GmbHMusic by Kevin MacLeod"Rollin at 5""Rollin at 5 - electronic"www.incompetech.comLicensed under Creative Commons: By Attribution 3.0 creativecommons.org/licenses/by/3.0/

Movie of the Year: 1971Straw Dogs (feat. Erik from the Cradle to the Grave pod!)The Straw Dogs Podcast: Peckinpah's Most Dangerous FilmThe Straw Dogs podcast episode of Movie of the Year confronts one of 1971's most debated, disturbing, and relentlessly provocative films — Sam Peckinpah's psychological siege thriller starring Dustin Hoffman and Susan George. Ryan, Mike, and Greg are joined by Erik Hanson of the Cradle to the Grave podcast. Together, they examine the film's violence, its contested rape scene, and the gender dynamics at the heart of Peckinpah's vision. Consequently, no other episode this season demands more from its hosts — or from its audience.Moreover, the 1971 film Straw Dogs arrived in remarkable company. A Clockwork Orange, Dirty Harry, and The French Connection all hit theaters the same year — forming a cluster of films that fundamentally altered what Hollywood was willing to show. Furthermore, Straw Dogs distinguished itself from all of them. Filmed entirely in a Cornish village, it replaced the city's noise with something quieter and more suffocating. Ultimately, it is a film that has never stopped demanding conversation — and that is exactly what the Taste Buds deliver.About the FilmSam Peckinpah directed Straw Dogs (1971), starring Dustin Hoffman as David Sumner, a mild-mannered American mathematician who relocates with his English wife Amy (Susan George) to her rural hometown in Cornwall. David hires local men to repair their farmhouse. Almost immediately, however, the couple faces escalating harassment, intimidation, and violence from the villagers — including Amy's former boyfriend Charlie (Del Henney).Peckinpah and screenwriter David Zelag Goodman adapted the film from Gordon M. Williams's 1969 novel The Siege of Trencher's Farm. Peckinpah famously dismissed the source material. The film builds to a harrowing siege in which David, pushed past every limit, defends his home with escalating brutality. Additionally, the title derives from the Tao Te Ching, which describes straw dogs as ceremonial objects — used briefly, then discarded without feeling. The Criterion Collection edition includes a discussion of this symbolism in its supplemental materials.Released theatrically in the UK in November 1971, the film earned a nomination for the Academy Award for Best Original Score. It was later issued as a Criterion Collection release featuring new critical scholarship. The British Film Institute also maintains an entry on the film. The British Board of Film Classification banned it for home video release for years after its UK theatrical run.Guest Panelist: Erik HansonJoining the Taste Buds for this Sam Peckinpah film discussion is Erik Hanson, the creator and host of Cradle to the Grave — a horror movie podcast built around a distinctive structural premise. Starting with 1971, his own birth year, Erik ranks and discusses his Top 10 horror films from every year of his life, covering each in depth with rotating guests. The show has developed a devoted following for Erik's knowledgeable, laid-back, and genuinely funny approach to the genre.In addition to podcasting, Erik is the author of Death Machine, a debut horror novel set in 1987 Northern California that reimagines the Zodiac Killer returning to terrorize a group of kids. Based in Sacramento, California, Erik is also a musician. His work across fiction and podcasting reflects a lifelong relationship with horror that goes well beyond fandom and into genuine craft. Notably, the fact that Cradle to the Grave begins precisely with 1971 makes Erik an especially fitting guest for a deep dive into one of that year's most unsettling films. You can pick up Death Machine on Amazon.Peckinpah and Violence: A Director Pushed to the EdgeBy 1971, Sam Peckinpah had already established himself as Hollywood's most uncompromising chronicler of violence. The Wild Bunch (1969) had rewritten the grammar of the Western, deploying slow-motion carnage in a way that made violence impossible to process cleanly. Straw Dogs, however, moved in a very different direction. Furthermore, Warner Bros. had effectively exiled Peckinpah from Hollywood following a chaotic falling out, which is why he filmed this Straw Dogs 1971 production entirely in England, far from his natural terrain.The violence in Straw Dogs is not operatic like The Wild Bunch. Instead, it is domestic, intimate, and deeply uncomfortable. Peckinpah builds menace through accumulation — small humiliations, loaded glances, minor intrusions — before releasing it all in the siege. Additionally, the film implicates the audience in David's rampage by making it feel, at least in the moment, cathartic. That troubling catharsis is entirely the point. As a result, the Straw Dogs podcast discussion centers on Peckinpah's central question: whether violence is ever truly civilized, or whether it simply waits beneath the surface of every man who believes he is better than it. Roger Ebert, writing for the Chicago Sun-Times in 1971, gave the film two stars and called it a film committed to the pornography of violence while laying on moral outrage with a shovel — a dissent worth hearing even for those who disagree.The Rape Scene: Context, Controversy, and CriticismNo discussion of Straw Dogs is complete without addressing its most contested sequence. Charlie, her former boyfriend, first assaults Amy — then a second attacker follows. What makes the scene so difficult to analyze is the way Peckinpah films the first assault. Many critics interpreted Amy's shifting emotional response during the rape as suggesting consent or complicity. That reading fueled decades of fierce feminist criticism of the Sam Peckinpah film.Moreover, the British Board of Film Classification rejected the film for home video release for years, specifically over this content. The studio cut the scene for the US release to secure an R rating. Susan George has spoken in interviews about her complex relationship to the role and the sequence. Notably, film scholar Linda Williams frames the film within the longer history of misogynistic representation in cinema. Her analysis appears in the Criterion Collection release. She argues that Straw Dogs belongs in conversation with works that are technically significant but ethically compromised. Consequently, the scene is not a matter of simple condemnation or simple defense. It is the central wound around which the entire film's meaning turns, and the Taste Buds treat it accordingly.David, Amy, and Gender in Straw Dogs 1971At its core, Straw Dogs is a film about masculinity in crisis. David Sumner is an intellectual — passive, avoidant, and seemingly incapable of the physical authority the Cornish village treats as natural male behavior. The film, however, refuses to position his bookishness as a virtue. Dustin Hoffman understood his character as a man who unconsciously provokes the violence around him — a pacifist whose repressed aggression the siege finally unlocks.Amy occupies an equally impossible position. The film's gaze codes her as provocative — bare feet, no bra, conspicuous in the village — while simultaneously punishing her for that very visibility. Nevertheless, Susan George's performance introduces ambiguity and depth that the script does not always earn on its own. The dynamic between David and Amy is as much a source of tension as the men gathering outside. They seem genuinely ill-suited and miscommunicate constantly. Above all, Straw Dogs asks what gender roles cost everyone involved. Specifically, the film suggests that masculinity, however dormant, will ultimately assert itself through violence. That is Peckinpah's most unsettling argument — and one that the A Clockwork Orange episode of Movie of the Year covers from a very different angle.Career Retrospective: Dustin HoffmanBy the time the Straw Dogs podcast era film was released in 1971, Dustin Hoffman had already fundamentally changed what a movie star could look like. His breakthrough in The Graduate (1967) — neurotic, unhandsome, deeply searching — made him a voice for a generation that distrusted certainty. Midnight Cowboy (1969) proved he could disappear entirely into character, earning his first Academy Award nomination. Little Big Man (1970) demonstrated his ability to age through an entire life on screen. Straw Dogs, therefore, marks something different in his catalog: not charm or pathos, but something colder and harder to forgive.Hoffman's Career After...

For this new episode of CROPPED, Will Dennis and I have a fun conversation about 1972's THE GETAWAY. Directed by Sam Peckinpah, starring Steve McQueen and Ali MacGraw, and written by Jim Thompson and Walter Hill, we discussed what comic book creators could learn from Peckinpah's work in crafting something more than just a crime genre programmer.

After struggling to write a novel about the last days of Billy the Kid, travel writer and Mark Twain scholar Charles Neider found his inspiration by heading to the Monterey coast and creating his own version of the "the greatest gunman alive at the time of his death." Published in 1956, The Authentic Death of Hendry Jones is a fictionalized take on the mythologized outlaw, relocating the mesas of New Mexico to the beaches of Ensenada and Punta del diablo and providing a lyrical and haunting prose which ended up inspiring both Marlon Brando's One-Eyed Jacks and Sam Peckinpah's Pat Garrett and Billy the Kid. Despite its almost legendary reputation, Hendry Jones ended up falling into obscurity compared to other lauded 20th century Western novels. If anybody appreciates the influence of an underrated Western book, it's artist/historian David Lambert, who previously talked with us about Richard Brautigan's The Hawkline Monster and Crow Killer by Thorp and Bunker. Lambert returns to the podcast to celebrate the recent republishing of Neider's novel by digging deep into this rich psychological character study and its unique historical and geographical observations, as well as the shockingly faithful screenplay adaptation by Peckinpah and Brando's not-so-faithful screen version. David Lambert on X: x.com/DavidLambertArt David Lambert on bsky: @davidlambertart.bsky.social The Pink Smoke on X: x.com/thepinksmoke John Cribbs on X: x.com/thelastmachine

Watch the best scene reading: https://www.youtube.com/watch?v=R2VAxv7qARQ Lee is hired to bring the seducer of a young woman to daddy for his particular vengeance. Daddy is an Arizona drug baron. The seducer works for daddy's Mexican partner. Then too many people with guns and the wrong ideas intrude. And the job just got complicated. Get to know the writer: What is your screenplay about? I will place the logline here for reference: A down-on-his-luck enforcer is hired to bring a young woman's seducer back to Daddy for a particular vengeance. Daddy is an Arizona drug baron. Seducer works for Daddy's Mexican partner. Then too many people with guns jump to half-baked conclusions. And the job just got complicated. And now, what is the story really about. And that is that people often draw the conclusions they want to, and will not be dissuaded by facts. They will rely on preconceptions and assumptions, and jump to the most comfortable, palatable conclusions. The cliche line would be “go with your gut”, the $20 version would say “cognitive bias”. A secondary idea is the danger of mixing personal beefs with business (especially when the action is based on those faulty assumptions). Our protagonist, Lee, the above-mentioned enforcer, tries to figure out what is really going on while others are going off half-cocked (with loaded guns). Those are the ideas that underpin the story. Or we can just enjoy the action, the guys, the gals, the guns, the big old cars, and maybe even spot the hommage à Peckinpah – think The Getaway meets Bring Me the Head of Alfredo Garcia (the vibe, not the plot points). What genres does your screenplay fall under? a) Action b) Crime, in the sense that all the characters are involved in crime or related to criminals, and law enforcement c) Contemporary western, in its setting, and the number of wannabe gunfighters Why should this screenplay be made into a movie? Because, if done right, it would be a fun 110 mins, with enjoyable characters in a crazy action-packed situation. And those who choose can ponder the deeper meanings of the film. —- Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

durée : 01:26:05 - Les Nuits de France Culture - par : Philippe Garbit - Dans "La horde sauvage", Sam Peckinpah actualise et repense les codes du western. Ce film d'action est marqué par sa personnalité, et ses choix de prise de vue et de montage qui intellectualisent la violence, en résonance avec l'époque troublée de sa sortie en 1969. Ciné-club revient sur ce film. - réalisation : Virginie Mourthé - invités : Gérard Camy Professeur et historien du cinéma; Philippe Rouyer Critique et historien de cinéma à la revue Positif; François Causse Co-directeur de la filmothèque du Quartier Latin; Denis Mellier

fWotD Episode 3150: The Getaway (1972 film) Welcome to featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Friday, 19 December 2025, is The Getaway (1972 film).The Getaway is a 1972 American action thriller film based on the 1958 novel by Jim Thompson. The film was directed by Sam Peckinpah and written by Walter Hill, and stars Steve McQueen, Ali MacGraw, Ben Johnson, Al Lettieri, and Sally Struthers. The plot follows imprisoned mastermind robber Carter "Doc" McCoy, whose wife Carol conspires for his release on the condition they rob a bank in Texas. A double-cross follows the crime, and the McCoys are forced to flee for Mexico with the police and criminals in hot pursuit.Peter Bogdanovich, whose The Last Picture Show impressed McQueen and producer David Foster, was originally hired as the director of The Getaway. Thompson came on board to write the screenplay, but creative differences ensued between him and McQueen, and Thompson was subsequently fired, along with Bogdanovich. Writing and directing duties eventually went to Hill and Peckinpah, respectively. Principal photography commenced February 7, 1972, on location in Texas. The film reunited McQueen and Peckinpah, who had worked together on the relatively unprofitable Junior Bonner, released the same year.The Getaway premiered December 19, 1972. Despite the negative reviews it received upon release, numerous retrospective critics have reevaluated the film positively. A box-office hit earning over $36 million, it was the eighth highest-grossing film of 1972, and one of the most financially successful productions of Peckinpah's and McQueen's careers. A film remake of the same name starring Alec Baldwin and Kim Basinger was released in 1994.This recording reflects the Wikipedia text as of 00:56 UTC on Friday, 19 December 2025.For the full current version of the article, see The Getaway (1972 film) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Bluesky at @wikioftheday.com.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Matthew.

Dieci anni dopo la sua morte e la presentazione della sua ultima opera cinematografica, eccoci qui a ricordare Claudio Caligari. La sua vita, il suo cinema e il suo ricordo a partire dagli anni '70 fino al ventunesimo secolo. La fortuna non ha mai favorito Caligari ma la sua tenacia lo ha sempre portato ad affrontare le sfide apparentemente impossibili. E Caligari riuscì persino a sfidare la morte, consegnandoci il suo ultimo e postumo film."Non essere cattivo" non è solo l'aggiornamento di quel mondo pasoliniano che aveva formato Caligari ma è anche il proseguimento di un Cinema che ha sempre guardato anche a Scorsese e al Peckinpah più crepuscolare per poi diventare un mondo che solo il compianto Claudio poteva raccontare con tutto il cuore e la passione di questo mondo. Dirigendo persino il suo capolavoro.

Un luogo in cui le parole possono essere letali quanto le pallottole, il progresso una minaccia e la Morte una garanzia. Uno scenario di atti crudeli ma anche di nobili gesti. Questo e molto di più è il Western cinematografico. Godiamocelo!Durante i primi anni del '900, Il vecchio West fu spettatore del tramonto definitivo di un'epoca e di un mito. E in pochi potevano ancora dire "io c'ero" o "io l'ho visto". Uno di questi è certamente il protagonista del secco ma avvincente "Old Henry", western che omaggia Hawks, Peckinpah e Don Siegel e con protagonista il mitico Tim Blake Nelson.

A 100 éve született Sam Peckinpah (1925-1984), a „Vad banda”, a „Szalmakutyák” és „A szökés” alkotója minden bizonnyal az egyik legvizuálisabb és legintenzívebb látásmódú amerikai filmrendező volt az 1960-as és 1970-es években. Ellentmondásos személyiségében a kedves, nagyműveltségű író és a munkatársait is terrorizálni képes, kemény direktor keveredett, gyakran az elfogyasztott alkohol és drog mennyiségétől függően. Nem véletlenül kapta a „Véres Sam” becenevet a vásznon megjelenő brutális vérengzések iránti vonzódása miatt. Állandó szabályszegései és lázadó személyisége több producernek is gyomorfekélyt okozott: nem rejtette véka alá, hogy nem tetszett neki a stúdiórendszer, és több alkalommal is nyílt összetűzésbe került a stúdiók vezetésével. Ennek ellenére sikerült merész és határokat feszegető filmeket készítenie, 1969 és 1974 között forgatott filmjeivel nem tudott hibázni. Kedvenc műfaja a western volt, a Vadnyugat hanyatlásában meglátta a nihilizmus, a férfiasság és a kompromisszumos erkölcs témáit, ami rezonált a kiábrándult amerikai ifjúság ízlésével. Filmjei újszerűségről, régimódi karakterekről és klasszikus szerkezetéről is emlékezetesek. A régi és az új világ egymás mellé állítása számos történetében is megjelenik. Nála az erőszak nem a sokkolás eszköze: a tiszta morális szándékokkal szembenálló brutális és közömbös világot jelképezi. Ezért megosztóak a filmjei, attól függően, hogy a néző mennyire tudta elviselni a valósághűen véres képeket. Stilisztikailag az úttörő vágástechnikája és a szuperlassított felvételek használata egyedi hangulatot teremtett, különösen a lövöldözések és a verekedések jeleneteiben. Privát életében a morális kiállás nem kapcsolódott össze vallási kérdésekkel, bár élete második felében Mexikóban is élt és szívesen használta a katolikus szimbólumokat. A hetvenes évek második felében függőségei miatti gyors hangulatváltozásai és lojális kollégák elmaradása következtében kevéssé foglalkoztatták, állandó kockázatként kezelték.Peckinpah forradalmi hatása tovább él Hollywoodban. Nemcsak John Woo, Tony Scott, de minden akciófilmet forgató rendező merített munkásságából. Kevésbé koherens filmjei is hangulatosak, stílusosak. 59 évesen Hollywood egyik leglázadóbb és leginspirálóbb filmrendezőjeként hunyt el. Sam Sam Peckinpah életművéről, legjobb filmjeiről beszélgettünk.A beszélgetés résztvevői:Balázsy IstvánCsunderlik PéterLaska PálPaár ÁdámA Régen minden jobb volt a Tilos Rádió hátrafelé nyilazó történelmi műsora:https://www.facebook.com/regen.minden.jobb.volt

Per la prima volta ospite del podcast il giornalista Emanuele Marazzini, grande appassionato di western, che ci racconta tutti i retroscena di "Sierra Charriba", un film diretto da Sam Packinpah che all'epoca fu letteralmente massacrato dai produttori che lo tagliarono di oltre quaranta minuti.Fu un set tormentato, carico di tensioni e di lotte continue tra il regista Peckinpah, il cast, la troupe e il produttore Jerry Bresler, per un film che non vedrà mai una vera e propria director's cut.

Mike and Pax cover another Peckinpah.  Will they love it or hate it?  Listen to find out!

Oooh! We got a grimy one for ya today. We dive right into the dirt with famed auteur Sam Peckinpah's minor (but still fascinating) work: Bring Me the Head of Alfredo Garcia. Warren Oates leads a quirky cast populated by Mexican sex workers and suspiciously corporate hitmen in this tale of sexual jealousy, work, and morality and we just have a ball talking about it! Topics include: the hosts views on violent cinema, the strange life of “the world's most interesting man” and Peckinpah's friendship with Pauline Kael.

This week, thanks to a Ko-Fi donation from one our listeners, we're talking about Sam Peckinpah's 1978 film CONVOY! Starring Kris Kristofferson, Ali MacGraw, Burt Young, Ernest Borgnine, and more, it was one of Peckinpah's last films and his biggest box office hit - but does it hold up?

El episodio de esta semana tiene un claro protagonista, el director Sam Peckinpah. Este 21 de febrero se ha celebrado el centenario de esterealizador de filmografía no muy larga pero que ha influido decisivamente en muchos cineastas, desde Martin Scorsese a Quentin Tarantino, pasando por John Woo. Además, Jack Bourbon ha elegido analizar esta semana en su sección dedicada al cine del Oeste la que muchos consideran la mejor película de Peckinpah: “Grupo salvaje” un film extremadamente violento y profundamente poético. Del lado nacional tenemos al compositor cinematográfico Arturo Cardelús con el que ha charlado esta semana Elio Castro y también un o de los grandes clásicos del cine español de los años 50: “Marcelino, pan y vino” de cuyo estreno se cumplen 70 años.

El episodio de esta semana tiene un claro protagonista, el director Sam Peckinpah. Este 21 de febrero se ha celebrado el centenario de esterealizador de filmografía no muy larga pero que ha influido decisivamente en muchos cineastas, desde Martin Scorsese a Quentin Tarantino, pasando por John Woo. Además, Jack Bourbon ha elegido analizar esta semana en su sección dedicada al cine del Oeste la que muchos consideran la mejor película de Peckinpah: “Grupo salvaje” un film extremadamente violento y profundamente poético. Del lado nacional tenemos al compositor cinematográfico Arturo Cardelús con el que ha charlado esta semana Elio Castro y también un o de los grandes clásicos del cine español de los años 50: “Marcelino, pan y vino” de cuyo estreno se cumplen 70 años.

Support our Patreon: www.patreon.com/thepinksmoke Sam Peckinpah and David Lynch, two of the most recognized directors of their day, were each in their mid-30's when they embarked on their third feature film: an epic studio movie to be shot in Mexico (headquartered at Estudio Churubusco). In both cases, the resulting film was a commercial disappointment and a critical disaster. What went wrong? Who's fault was it? Do these maligned movies deserve reappraisal?In tribute to the legendary Sam Peckinpah's 100th birthday and the recent passing of the great David Lynch, the Pink Smoke has recruited artist David Lambert and filmmaker Martin Kessler to revisit these two films. Lambert takes us through the history of Peckinpah's 1965 debacle Major Dundee, including how star Charlton Heston almost murdered his hellfire director, while Kessler walks us through the production of 1984's infamously derided adaptation of Dune.  Exclusive "Major Dune-dee" art by David Lambert. Hey! Look! It's our Patreon: www.patreon.com/thepinksmoke The Pink Smoke site: www.thepinksmoke.com The Pink Smoke on X: x.com/thepinksmoke John Cribbs on X: x.com/thelastmachine David Lambert on X: x.com/DavidLambertArt Martin Kessler on X: x.com/MovieKessler

durée : 01:30:02 - Les Nuits de France Culture - par : Philippe Garbit - Dans "La horde sauvage", Sam Peckinpah actualise et repense les codes du western. Ce film d'action est marqué par sa personnalité, et ses choix de prise de vue et de montage qui intellectualisent la violence, en résonance avec l'époque troublée de sa sortie en 1969. Ciné-club revient sur ce film. - réalisation : Virginie Mourthé - invités : Gérard Camy Professeur et historien du cinéma; Philippe Rouyer Critique et historien de cinéma à la revue Positif; François Causse Co-directeur de la filmothèque du Quartier Latin; Denis Mellier

On this episode of Drive-In Double Feature Podcast, Nathan and Ryan dive into the 1978 action-packed road classic, Convoy! Directed by Sam Peckinpah and inspired by C.W. McCall's hit country song, this cult film rolls out a story of truckers fighting against corrupt law enforcement in a wild convoy across the Southwest. They discuss the cultural impact of the CB radio craze, the rebellious spirit of '70s cinema, and Peckinpah's unique take on the trucker lifestyle. Join us as we explore why Convoy became a quintessential American road movie, its memorable action sequences, and its enduring legacy among fans of both trucking and B-movie action.

On this trailblazing episode, reporter and historian Robert Nott drops by to discuss Sam Peckinpah's Ride the High Country. Robert is the author of several acclaimed books on Western film history, including The Films of Randolph Scott, Last of the Cowboy Heroes, The Films of Budd Boetticher, and Goin' Crazy with Sam Peckinpah and All Our Friends. His latest book is titled Ride the High Country, and it's the first book to focus exclusively on Peckinpah's poignant 1962 classic. Robert Nott's book, Ride the High Country, is published by the University of New Mexico Press, and is part of the Reel West series, edited by Andrew Patrick Nelson.

The guys kick off another round of retro reviews with one of Joe's favorites, Bring Me the Head of Alfredo Garcia, a 1970s neo-western from Sam Peckinpah. The discussion evolves into an exploration of Peckinpah's entire oeuvre. Michael also talks about an older beloved western, Joe checks out an unseen Paul Schrader movie, and Jared recommends a recent indie film.

Roger Corman, It Should Happen To You, Peckinpah, The New Bob Dylan, and of course, Deadpool and Wolverine

Sam Peckinpah's 1971 lust-fueled siege thriller, STRAW DOGS, is our feature presentation this week! We talk the infamous scene at the heart of the film, Peckinpah's troubles with women & other shortcomings, Dustin Hoffman, Susan George, and much more! We also pick our top 7 MOVIES SET IN ENGLAND in this week's SILVER SCREEN 7. Check out the show, subscribe and become a regular here at THE BROKEN VCR! To watch the LIVE VIDEO RECORDING of BVCR, sign up to the PATREON ($2.99/month) at theturnbuckletavern.com. You'll get the episodes in video form days/weeks early.

The Ballad of Cable Hogue (1970) synopsis: “A hobo accidentally stumbles onto a water spring, and creates a profitable way station in the middle of the desert.”Starring: Jason Robards, Stella Stevens, David Warner, and Slim PickensDirector: Sam PeckinpahThis week on Podcasting After Dark, Zak and Corey review The Ballad of Cable Hogue starring Jason Robards! A very interesting western movie that unfortunately bombed in the theater and derailed Peckinpah's career a little bit. Which is a shame because The Ballad of Cable Hogue is a damn good movie with a fantastic cast and unique script!A huge THANK YOU to Paulette for selecting The Ballad of Cable Hogue for us to review via our Patreon page! If you would like us to breakdown one of your favorite films, consider signing up to our highest tier!— SUPPORT THE INDIE HORROR MOVIE, BAMPIRE —WEBSITE / INDIEGOGOINSTAGRAM / FACEBOOK— SUPPORT PODCASTING AFTER DARK —PATREON - Two extra shows a month including Wrap-Up After Dark and The Carpenter Factor, plus other exclusive content!MERCH STORE - We have a fully dedicated merch store at TeePublic with multiple designs and products!INSTAGRAM / FACEBOOK / LETTERBOXD - Follow us on social media for updates and announcements!This podcast is part of the BFOP Network

Wicked, Travis, Fae, and Dread discuss Troma's Class of Nuke 'Em High! Something Mancini. Chh Chh Chh News! Class of 84 from 82 in 86. Wet N' Dry Farts. Rich Toxic Waste Schools. He Had A Boobies! Electro and more! Bloops: Something Funny. Who's Dreadly Serious?!  Support us on Patreon at patreon.com/GORE13 Check out our website created by Baumbie GOREpodcast.com Follow the show on Twitter @GOREpodcast  Email the show at GOREpodcast13@gmail.com

For episode 122, Austin discusses the Sam Peckinpah's Straw Dogs (1971) with Christopher Lloyd from The Film Yap. Is it Peckinpah's best? Worst? Listen and find out. All that and more on Medium Cool: A Movie Podcast. Enjoy!0:00 - Intro2:40 - Straw Dogs (1971)1:02:20 - OutroPlease subscribe to Medium Cool: A Movie Podcast wherever you get your podcasts! Also, follow us on social media to get updates on all of the exciting things we have coming up!Instagram: MediumCoolPodLetterboxd: www.letterboxd.com/AustinGliddenEmail: MediumCoolPod@gmail.com

It;'s a Scene Missing Word Balloon where Gabriel Hardman and Ian Brill join me to talk about probably Peckinpah's worst film All about The CB radio craze Convoy,. Then we talk about the short lived TV Series Sam created in 1960. The Westerner with Brian Keith. 

Bring Me the Head of Alfredo Garcia is a 1974 Mexican-American neo-Western film directed by Sam Peckinpah, co-written by Peckinpah and Gordon Dawson from a story by Peckinpah and Frank Kowalski, and starring Warren Oates and Isela Vega, with Robert Webber, Gig Young, Helmut Dantine, Emilio Fernández and Kris Kristofferson in supporting roles. 

In Sam Peckinpah's film, standard Western tropes – outlaws, heroes, beautiful landscape – are used to interrogate an exhausted genre. He knows spectacular gunfights are problematic but did the cut version shown in Ireland convey Peckinpah's intent?The Wild Bunch, dir Sam Peckinpah, starring William Holden, Ernest BorgnineSupport us and Merch! Hosted on Acast. See acast.com/privacy for more information.

This week's physical media show has a little of everything and a lot of heartbreak. Nancy Savoca provides the latter as the “Savocaissance” continues on Blu-ray this year but there is also early James L. Brooks with Burt Reynolds missing out in a stacked year of Oscar nominees. We have an Anthony Mann western and a Roman Polanski thriller; a double-up of Mean Girls and a remake of a Peckinpah film.  Plus a breakdown of Steven Soderbergh's Ocean's films now all available on 4K.   0:00 - Intro 1:41 – Criterion (Dogfight) 8:45 - Kino (True Love, Bluebeard, Starting Over) 22:57 - Music Box (Signature Move) 25:38 – Arrow (The Tin Star, Basket Case) 37:48 – Shout Factory (Death and the Maiden, The Getaway) 47:09 – Warner Bros. (Oceans Trilogy 4K) 56:25 - Paramount (Mean Girls 2004 4K, Mean Girls 2024) 1:05:05 – New TV & Theatrical Titles on Blu-ray 1:12:05 – New Blu-ray Announcements 1:15:05 - Outro

A double feature with a Peckinpah western set in Cornwall and a Daily Mail article come to life, we're talking Straw Dogs and Eden Lake. Come for the masculinities and working class aesthetics discourse, stay to find out just what we think of Eden Lake... Follow us on social media for I guess future Cornish content now that we've moved on from Sheffield: twitter.com/HorrorVanguard www.instagram.com/horrorvanguard/ You can support the show for less than the cost of taking a vacation to Earth's most Normal island at www.patreon.com/horrorvanguard

"You never really understand a person until you consider things from his point of view." Originally released on September 2, 2021, Brandon and Thomas discuss one of the classic films of the Southern genre, TO KILL A MOCKINGBIRD. Listen as they talk about Harper Lee's original novel, the film's meticulous production design, and why the film's critical reception was lukewarm upon its release. Be sure to check out our other episodes on the Southern Film genre from September 2021.  Intro to the Southern Genre (00:04:19) Intro to To Kill a Mockingbird (00:15:48) How To Kill a Mockingbird Got to Production (00:23:54) Favorite Scenes (00:33:27) On Set Life - (00:45:59) Aftermath: Release and Legacy (00:51:07) What Worked and What Didn't (00:59:00) Alternate Universe Cast (01:06:29) Film Facts (01:07:15) Story Questions (01:10:57) Awards (01:15:56) Final Questions (01:19:48) Preview for Next Episode (01:27:09) Join our Patreon for More Content: https://www.patreon.com/cinenation Contact Us: Facebook: @cinenation Instagram: @cinenationpodcast Twitter/X: @CineNationPod TikTok: @cinenation Letterboxd: CineNation Podcast E-mail: cinenationpodcast@gmail.com

Peckinpah documentarians Nick Redman, Paul Seydor, Garner Simmons and David Weddle

196 - Junior Bonner Movie Discussion with Ansel Faraj Part 1 of the Sam Peckinpah Retrospective Series Steven and Ansel discuss the movie Junior Bonner on the episode. The Peckinpah series will take place over the next few years. Ansel Faraj is an awarding winning filmmaker. His movies, such as Loon Lake, Todd Tarantula, Will & Liz, and many others are available on Blu-Ray at Amazon. Please send feedback to DieCastMoviePodcast@gmail.com or leave us message on our Facebook page. Thanks for listening!

"Because there was once a god who walked the Earth named Warren Oates." - Richard Linklater Friendly, feisty, fresh, and so-very funny, Bright Wall/Dark Room staff writer & contributing editor Travis Woods is as passionate about film as he is endearingly supportive of all who love it. The host & creator of producer Blake Howard's podcast Increment Vice (which took a look at Paul Thomas Anderson's INHERENT VICE one scene at a time), Travis has also contributed physical media commentary tracks &/or video essays for a few of his favorite films of all time, including the recent Imprint Films release of BRING ME THE HEAD OF ALFREDO GARCIA starring his favorite actor (& raison d'être), Mr. Warren Oates. Joining me to preach the gospel of Oates in his thoughtful, sometimes philosophical, & always entertaining laid-back style, my Pandemic Movie Club buddy & I go deep on the films TWO-LANE BLACKTOP, THE HIRED HAND, DILLINGER, COCKFIGHTER, & BRING ME THE HEAD OF ALFREDO GARCIA. Likely just the first installment on Oates since we stuck with the first half of the '70s, fans of the actor will undoubtedly flip for this feature-length conversation on one of both serious cinephiles' & great filmmakers from Peckinpah to Malick's most beloved screen presences. Originally Posted on Patreon (10/14/23) here: https://www.patreon.com/posts/90966824 Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive Shop Watch With Jen logo merchandise in Logo Designer Kate Gabrielle's Threadless Shop

The writer Brian Abrams, author of the new book "You Talkin' to Me?”: The Definitive Guide to Iconic Movie Quotes, joins me from New York City to discuss Sam Peckinpah and his underrated 1972 rodeo drama Junior Bonner starring Steve McQueen and Joe Don Baker. Right after Peckinpah wrapped on his controversial Straw Dogs in England, he jumped into production on Junior Bonner, a small-stakes character study about an aging rodeo rider (McQueen) who returns to his hometown of Prescott, Arizona to compete for one more victory and to reconnect with his family, including his oafish brother, local real estate developer Curly (Baker) and his estranged parents (Robert Preston and Ida Lupino). It's also the story of the landscape of the American West giving way to the suburban sprawl and exploitation of the modern world, literally being bulldozed all around the Bonner family. As Junior's rodeo star father Ace asks: “If this world's all about winners, what's for the losers?” Dismissed in its day, and somewhat of an outlier in Peckinpah's run of action films in the 1970s, time has been kind to Junior Bonner, which can be appreciated now as a Hangout Movie, three days in the life of an aging rodeo star and a fading way of life, vividly brought to life by Peckinpah and his cast. Plus we discuss Brian's new book, which looks into the origins of hundreds of classic movie lines across American film history, how some lines have entered the lexicon and live on in the culture, and the movie quotes we each have rolling around in our heads. Become a patron of the podcast to access to exclusive episodes every month, including our continuing Miami Vice sidebar series. Over 30% of Junk Filter episodes are exclusively available to patrons. To support this show directly please subscribe at ⁠⁠⁠⁠⁠https://www.patreon.com/junkfilter Follow Brian Abrams on Twitter. Brian's book "You Talkin' to Me?”: The Definitive Guide to Iconic Movie Quotes is now available. Trailer for Junior Bonner (Sam Peckinpah, 1972) Music video for “Too Late For Goodbyes”, Julian Lennon (directed by Sam Peckinpah, 1984)

A double feature with a Peckinpah western set in Cornwall and a Daily Mail article come to life, we're talking Straw Dogs and Eden Lake. Come for the masculinities and working class aesthetics discourse, stay to find out just what we think of Eden Lake... Follow us on social media for I guess future Cornish content now that we've moved on from Sheffield: twitter.com/HorrorVanguard www.instagram.com/horrorvanguard/ You can support the show for less than the cost of taking a vacation to Earth's most Normal island at www.patreon.com/horrorvanguard

Episode 355: The Crew's terrified of all these violent children while watching Sam Peckinpah's The Wild Bunch. Peckinpah has lots to say about violence and it's effects in his 1969 Western. The film editing is revolutionary, mixing shots with different frame rates to help visualize the horrific chaos of a gunfight. The Crew discusses… If you like our music intro, head over to Soundcloud and hear more amazing music from aquariusweapon. Aquariusweapon can also be found on YouTube. Contact: moviecrewpod@gmail.com

Content warning: Depictions of domestic violence and suicide. THE GETAWAY follows a pretty conventional structure. Depending on how you look at it, that might flatten it a little bit or it might make its jagged edges a little more interesting! Either way, it's worth examining as Sam Peckinpah's most commercially successful movie – and another weird example of his incisive take on toxic masculinity as told through the conceit of a high-stakes heist. Follow us on Twitter at https://twitter.com/trylovepodcast and email us at trylovepodcast@gmail.com to get in touch! Buy tickets and support the Trylon at https://www.trylon.org/. Theme: "Raindrops" by Huma-Huma/"No Smoking" PSA by John Waters. Outro music: "Love Theme" by Quincy Jones from the THE GETAWAY soundtrack. Timestamps 0:00 - Episode 228: THE GETAWAY (1972) 3:25 - The Patented Aaron Grossman Summary 6:42 - THE GETAWAY and Peckinpah's career-long obsessions 14:05 - The intro sequence 22:47 - A movie told in implied chapters 27:45 - The Cuckening of Harold Clinton 52:06 - Casting and WWII veteran tropes 57:33 - The Junk Drawer 1:06:48 - Good Grief, Give Me a GIF! 1:12:25 - Cody's Noteys: Trylove to Get Away for a Little While (getaway trivia)

Content warning: Discussions of attempted sexual assault. Reprehensible and unrepentant, BRING ME THE HEAD OF ALFREDO GARCIA trades in the same extensive violence and fragility-masked-by-corruption that became a trademark of director Sam Peckinpah. Running a seedy bar in Mexico City, small-time lowlife Bennie sees a chance to elevate himself above his station when the titular job lands in his lap. His white-collar employers give him just enough rope to hang himself – and his partner, Elita – as they travel the Mexican countryside to deliver the head of a dead man to the crime boss he crossed. In this episode, we discuss seeing ALFREDO GARCIA at the Trylon after so long; Bennie's tenuous, poisonous drive to assert himself over the people and land around him; and the movie's bizarre, humorous, rage-addled final act. Watch BRING ME THE HEAD OF ALFREDO GARCIA for free on the Internet Archive: https://archive.org/details/bring.-me.the.-head.of.-alfredo.-garcia.-1974.-remastered.-1080p.-blu-ray.-h-264.-aac-rarbg “Scent, Sense, and Senselessness in Bring Me the Head of Alfredo Garcia” by Sophie Durbin at Perisphere, the Trylon blog: https://www.perisphere.org/2023/04/28/scent-sense-and-senselessness-in-bring-me-the-head-of-alfredo-garcia/ “A Head's Tale: The Emotional Journey of Bring Me the Head of Alfredo Garcia” by Lucas Hardwick at Perisphere, the Trylon blog: https://www.perisphere.org/2023/04/28/a-heads-tale-the-emotional-journey-of-bring-me-the-head-of-alfredo-garcia/ Follow us on Twitter at https://twitter.com/trylovepodcast and email us at trylovepodcast@gmail.com to get in touch! Buy tickets and support the Trylon at https://www.trylon.org/. Theme: "Raindrops" by Huma-Huma/"No Smoking" PSA by John Waters. Outro music: "El Jefe" by Jerry Fielding from the BRING ME THE HEAD OF ALFREDO GARCIA soundtrack. Timestamps 0:00 - Episode 226: BRING ME THE HEAD OF ALFREDO GARCIA (1974) 2:46 - The Patented Aaron Grossman Summary 5:01 - “Unfortunately, it's a masterpiece” 13:31 - A third-act shift 23:57 - A cuck fear movie 38:13 - Commenting on the nihilism of ‘70s cinema 45:37 - Set design, privilege, and perfect ridiculous symbolism 54:37 - The Junk Drawer 1:02:58 - Good Grief, Give Me a GIF! 1:07:19 - Trylibs: Presented by Peckinpah

For this episode, we're talking about Sam Peckinpah's notorious classic psychological thriller Straw Dogs! Dustin Hoffman and Susan George star as a couple terrorized in Cornwall after they find out the locals are just as prone to violence as Americans. We talk about the themes, that r* scene that got the film an X rating, what Peckinpah means by the film's conclusion, and a lot more. We're also drinking the Fidens x Vitamin Sea collaboration Ducks & Axes! Approximate timeline 0:00-10:00 Intro 10:00-21:00 Beer talk 21:00-end Straw Dogs Next up: The Lighthouse! --- Send in a voice message: https://podcasters.spotify.com/pod/show/bloodandblackrum/message Support this podcast: https://podcasters.spotify.com/pod/show/bloodandblackrum/support

Heads Up! Oatestober kicks off as Brian is joined by film editor and festival programmer Luke Mullen to discuss arguably Peckinpah's grittiest film: Bring Me the Head of Alfredo Garcia.