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As a film teacher and Peckinpah scholar, I had put together my own cut of this film in the early 90's compiled from several video versions (and the TV version), and showed it in a special class devoted to the film. As someone who is probably somewhat an expert on this film, I'd like to make a few important points about the two versions included here in this set.
First, the Turner cut (mislabeled "director's cut") seemed to be merely a workprint Peckinpah had assembled at one point but was missing several sequences (including the scene with Garrett's wife), seemingly cut out to include in the television print. I say SEVERAL scenes -- no one, not even the experts (e.g., Seydor, Weddle, Simmons et al) mention the other omitted scenes, not even in their respective studies. One is a short sequence with Billy bringing a blanket to Maria and then wrestling with the kids (as it cuts right into the chickens continuing the kids' movements). It is in NO print of the film released (beyond the early television showing) -- but I do still have a (poorly dubbed) copy of that scene. It must still exist someplace. There are other minor tiny sequences (Poe walking down the hall, etc.) that are still missing from these two versions.
My second point, the newly restored 2005 version has an UNFORGIVABLE editing blunder: a wrong shot is inserted when R.G. Armstrong cocks his gun --!!! What happened??? Some editor obviously tripped up and messed up the shot sequence. This totally destroys this great scene which is so electrifying with Armstrong's dialogue and the shocking cocking of his gun. This NEEDS to be fixed and a newly mastered DVD should replace this edition! Why doesn't anyone else seem to notice this incompetent blunder? And who's responsible for this? I'd love to hear Seydor or another Peckinpah expert respond to this!
Also, I believe some of the choices the experts made in reediting the film in the 2005 version (which seems to favor the theatrical print over the "Turner" cut) is really debatable. I would tend to favor including some of what they omitted (like Dub Taylor's sequences) even though they play a little clumsy -- after all, they still reflect elements of Peckinpah's conception. I don't like second-guessing what he "might have" cut out later. And, although I somewhat like the ending to the "2005" version (with the kid throwing stones at Garrett and ending on that shot), that is, in my opinion, an act of all-too-much "rethinking" the film by others instead of respecting Peckinpah's own vision that I can't help but think is reflected more accurately in the return to the framing story and Garrett's dying (as in the Turner print). Even if perhaps "less polished", it does seem very much like Peckinpah. It's obviously what he wanted!
So it's hard not to come to the conclusion that neither version is completely satisfactory, but of the two the Turner cut is far superior (and, arguably, the only valid cut). To me perhaps the ideal version would be to try to include all of the shot footage in Turner's version, but to insert the Garrett-Wife scene AND the Billy-bringing-Maria-the-blanket sequences in their proper places (as well as the long prostitute sequence including the Ruthie Lee beginning which is an important sequence). I would also honor Peckinpah's own adamant decision to leave "Knocking on Heaven's Door" OUT of the Baker death scene as he was not ambiguous about his wishes here. (Who cares if the experts like the song?) If I were still teaching the Peckinpah class that would be the version I would prefer to screen for the attendees.
All in all, it must be said, however, that this motion picture, in any version, is one of Peckinpah's greatest triumphs and a masterpiece (albeit truncated). It deserves a wide audience and a future recognition of it as a brilliant classic western for the ages.
I HAVE DELETED HERE A PREVIOUS POSTSCRIPT TO REPLACE IT WITH THE FOLLOWING...
AN IMPORTANT ADDENDUM ADDED ON 5/26/2014:
Paul Seydor is not just a brilliant Peckinpah scholar and writer, he is also a wonderful, generous man. I finally managed to fulfill a dream of mine a few days ago and discuss in depth PG&BTK with him, and the different scenes and versions. Now I realize how much myth and incorrect information has been inadvertently (and sometimes mindlessly) circulated for years. In my classes and online I have always detailed what I believed to be the truth, with a conscientious exactitude, but from the moment of the film's release so much nonsense has been propagated. And a lot of it seems to have been the fault of Peckinpah himself.
One thing I learned from Paul was that many mistakes were made in the editing and sound of the making of the 2005 version after it had left his hands, and one of them was the editing blunder (when R.G. Armstrong is cocking his gun), an inacceptable gaff that I have been, and am still, so upset about -- and justly, I might add.
Because of the bungles and sloppiness the 2005 version displays (such as that sequence), I remain not happy with the 2005 version and still prefer the Turner cut (with the caveat that it needs the Wife and the Ruthie Lee sequences), but now I am confident that every decision Paul Seydor made in forming the 2005 version had a valid reason for it, and was made not only with a respectful restraint, but with wisdom gained from his unsurpassed experience.
Moreover, I am happier still because I know now that he proved to be the erudite, intelligent Peckinpavian expert I had always considered him to be.
My dialogue on this film from now on will be drastically different, and gladly so -- and I eagerly await his upcoming book to garner even more insight into the entire Pat Garrett and Billy the Kid experience.
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Scratched bootleg DVD's - Thanks Amazon!
Both discs scratched. Not even recognizable on players new or old. Waste of time and money.
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Kathleen Woodworth
Great price for the two CD's
Reviewed in Canada on March 24, 2014
