Ol' Pat... Sheriff Pat Garrett. He betrayed his principles to the Santa Fe ring. How does that feel? Pat Garrett and Billy the Kid was directed by Sam Peckinpah, with a screenplay by Rudy Wurlitzer. The film features James Coburn, Kris Kristofferson, Bob Dylan, Slim Pickens, Katy Jurado, Chill Wills, and Barry Sullivan. Bob Dylan composed the music, and John Coquillon handled the cinematography. At one point, they were friends and partners in crime, but now Pat Garrett represents law enforcement and his goal is to apprehend Billy the Kid. It seems inevitable that a Sam Peckinpah film would have a troubled production history due to studio interference, and Pat Garrett and Billy the Kid is no different. The story behind its creation includes accounts of clashes on set, unusual editing choices, and a feeling of rejection from those involved in making it. Fortunately, with time and advancements in technology, viewers can now experience the film closer to what was originally intended. It’s one of Bloody Sam's best works, and I prefer watching the TCM Preview version, which is the basis for this review. Pat Garrett and Billy the Kid showcases Peckinpah at his most poetic and mournful; it depicts the decline of the Old West through the perspective of an aging Pat Garrett (Coburn). The narrative unfolds deliberately, allowing ample time to develop the key players and revealing a cynical view of how frontier changes are fueled by greed, leading to violence. Peckinpah wryly suggests that the new “good guys” aren’t any better than the old ones, which helps solidify Billy the Kid's (Kristofferson) reputation as an appealing outlaw, despite his flaws. He at least adheres to a personal code of honor. The film is full of memorable scenes worthy of any Western. A shootout and its aftermath involving Pickens and Jurado are particularly poignant, with Dylan’s “Knockin’ On Heaven's Door” playing softly over the top. Another powerful scene features Jack Elam in a duel; there are many great moments between characters, thanks to Peckinpah’s excellent casting choices. Violent incidents appear throughout, as do his signature techniques: cross-cutting, sepia tones, and slow motion. Even a Christ allegory doesn't feel forced, and a self-reflective mirror sequence has a real impact. The film emphasizes character development; it isn’t just about visual style. Whether exploring the psychological conflict between Pat and Billy or the actions of supporting characters, everything is detailed and carefully crafted to capture the period and atmosphere of changing times and the environments people inhabit, regardless of whether they are on one side of the law or another. No scene feels superfluous; MGM and its executive James Aubrey failed to recognize this. The cast delivers strong performances, and Coquillon’s photography is striking and perfectly complements Peckinpah's vision. It’s a somber film, and the deliberate pace might not appeal to everyone, but it stands alongside other great Peckinpah Westerns like The Wild Bunch and Ride the High Country. It’s a truly exceptional Western from a truly exceptional director. 9/10

Source on TMDB