Sam Peckinpah and the Duality of the Human Experience

Paper by Conor Patrick. Viewed on DVD.

In The Wild Bunch (1969), The Ballad of Cable Hogue (1970) and The Getaway (1972), director Sam Peckinpah explores integrity, friendship and sexuality in a world of violence, difficult decisions and consequence. By analyzing selected scenes from these three films, the moral climate in which they were created and academic work from a variety of film scholars, it will become evident that Peckinpah presented a distinct conception of life in which men struggle to adhere to basic moral principles in a broken world of hard choices. Though perhaps best known for his unflinching portrayal of violence, Peckinpah should instead be remembered as a thoughtful filmmaker whose work addressed moral questions that have long troubled great thinkers. The director employed bloodshed not as gratuitous visual stimulation but rather as the consequence of choice. His protagonists are hardened men who grapple with complex philosophical dilemmas. Though compromised circumstances attempt to compromise their moral codes, they ultimately retain their devotion in the most difficult situations. From the brutal reality of life in the dying days of the Wild West to the limited future awaiting a convict upon his release from prison, the characters in The Wild Bunch, The Ballad of Cable Hogue and The Getaway have limited options. While their choices are few, they nonetheless attempt to adhere to their codes. Yet where other filmmakers (especially western filmmakers) simplified this devotion to code, Peckinpah’s films examined the tremendous difficulties men face when attempting to adhere to the most basic of principles. It is this exploration of the moral gray area between right and wrong that is the director’s greatest legacy.

Before attempting to understand Peckinpah’s work, it is important to note the changing moral climate of the United States in the mid 20th century. Born in 1925 in Fresno, California, Peckinpah’s first jobs in Hollywood were as a writer for western television series like Gunsmoke. Immensely popular in the 1950’s, westerns like Gunsmoke reflected the values of a simpler America marked by affluence, suburbs, global military dominance and an increased devotion to the Judeo-Christian tradition (Oakes 814). Though there were countless exceptions, it is fair to say that a sense of moral uniformity dominated America in the 1950’s; contributing to this uniformity was a “renewed emphasis on religion and family” (Oakes 821). Film and television of the era mirrored the trend towards “homogeneity” and as more Americans “participated in organized religion” (Oaks 821) moral questions were seen through the prism of Judeo-Christian teachings. Western programing offered a perfect vehicle to reduce complex dilemmas into black and white terms. Stars like John Wayne and James Arness embodied justice and they settled their problems unilaterally with their Colt 45’s. Their choices were simple. They were never conflicted. Westerns of the era were stories of good versus evil, right versus wrong. Yet as the moral façade of 1950’s and early 1960’s crumbled, filmmakers like Peckinpah embraced a new style that explored the true nature of humanity.

As the 1960’s progressed, the Vietnam War and the Civil Rights struggle precipitated a cultural revolution and America’s youth began to abandon the morality of their parents to embrace “their own values and practices” (Oakes 834). Many Americans began to “reject conformity, careerism, materialism and sexual repression” (Oakes 869); this new counterculture stood in glaring contrast with the values of the 1950’s. Inevitably, difficult questions arose and suddenly morality was no longer black and white. While it would be simplistic to view Peckinpah’s work as nothing more than a response to the tumultuous moral climate of the 1960’s and 1970’s, it is certainly beneficial to note the cultural transitions of the period. If Gunsmoke and The Searchers (1956) reflected 1950’s morality, then certainly The Wild Bunch must also be (at least partially) indicative of the moral climate of the late 1960’s. All art is influenced by the culture in which it is created; when attempting to understand Peckinpah’s worldview it is then important to bear in mind the philosophical turmoil in which Peckinpah produced his greatest works.

Often focused on his groundbreaking portrayal of violence and vaguely sexist depiction of heterosexual relationships, many misunderstand Peckinpah’s films. Throughout the 1960’s and 1970’s the director’s work “suffered greatly from critical neglect and popular miscomprehensions” (Bliss 62). Distracted by the bloodshed, the hard drinking and sexism, many believe that Peckinpah is somehow romanticizing, glorifying or otherwise celebrating the world in which his characters exist. Rather, Peckinpah is using this depravity as a means to explore “what is worthwhile, what must be preserved” (Miller 3). Because fundamentally, Peckinpah “believes in outdated codes like courage, loyalty, friendship. . .all the simple virtues that have become clichés” (Miller 3). The fundamental difference between Peckinpah and western filmmakers of the 1950’s is that he is willing to confront the complexity of morality. His characters are tempted by money, sex, and bloodlust and their internal moral conflicts are symbolic of the human condition. Rather than attempting to moralize, Peckinpah embraces the constant struggle between good and evil that has long defined humanity. Instead of trying to ignore the realities of a fallen world, he depicted the violence, the crass sexuality, and the substance abuse as a means to highlight that which is virtuous and admirable.

In opening scene of The Wild Bunch, Peckinpah quickly establishes a world of violence and consequence. As the local temperance organization marches peacefully down main-street, a group of men lie in wait. Anxiously anticipating the coming confrontation, the foul men sit stroking their guns and peering down upon the bank. The men attempting to foil the bank robbery appear to be outlaws themselves and, as they await the inevitable violence, their bloodlust is palpable. Below, another group of men begin to execute the robbery. As they attempt to leave the bank the first shots are fired and a graphic gun battle erupts. The outlaws flee and as the head “lawmen” discuss their plans to pursue the band, the rest of subordinates pick through the possessions of the dead like vultures. This opening scene serves two important purposes: it sets a violent tone for the rest of the film while creating a moral parity between the lawmen and the outlaws. In traditional westerns of the era, the outlaws represent evil and the sheriff and his posse represent justice. Yet in The Wild Bunch, Peckinpah consciously creates moral ambiguity. The characters serve as the symbolic embodiment of the human condition. Much like Kubrick explored the Jungian notion of the “duality of man” in Full Metal Jacket, Peckinpah seeks to explore the duality of moral behavior. This theme is further explored when Pike and Dutch refuse to give one of their men a proper burial. The audience is confused. Are these men not “the heroes.” the “good guys”? It is not until the Wild Bunch arrives in a Mexican village for a night of drinking and whoring that Peckinpah begins to transform them into sympathetic characters. In the small hours of the night, under the influence of mescal and female company, they begin to reveal their humanity. Watching the juvenile behavior of Lyle and Tector, an old Mexican man tells Pike that “we all desire to be young again, perhaps the worst of us most of all.” With this comment, Peckinpah begins to establish the duality of the Wild Bunch.

Realizing that they are growing old and the days of “living by their guns” are fading fast, Pike proposes one last “score”. Riding south into Mexico, it becomes clear that these men have outlived their times and their lifestyle is quickly becoming anachronistic. As their frustrations mount, Tector and Lyle propose abandoning Strother, an old man who no longer can pull his weight. This proposition enrages Pike, who responds, “ When you side with a man you stay with him. And if you can’t do that, you’re like some animal. Your finished.” With this comment, Peckinpah reveals the moral code of the Wild Bunch. Though these men are thieves who have spent their entire lives killing and pillaging, they nonetheless possess certain basic moral principles more valuable than all the gold in the West. Eventually, they do make one last score and it is a phenomenal success. They have more than enough money to retire. Yet Angel has been taken by Mexican troops. Though he is responsible for his own fate, and many good men could rationalize his death, the Wild Bunch is unwilling to leave him behind. On the final morning, Pike awakes in a small room with a Mexican prostitute. He pays the young woman then walks out into the square where Dutch, Lyle and Tector are waiting. There is little dialogue; the men know what they are going to do. They have chosen to “side” with Angel, and they will stick with him. The film ends where it began, in violence; the bloodshed serves as a consequence for their decision. They all perish. The Wild Bunch is not a western in the traditional sense. It is not a story of good versus evil. Rather, it is about the good and the evil innate in all human beings and the inner struggle to uphold the noblest of virtues in a world of violence and desperation.

Like The Wild Bunch, The Ballad of Cable Hogue also begins with violence. The camera focuses on a large lizard sunning itself on a rock. Suddenly, a rifle is fired and the reptile explodes in a shower of blood and organs. Establishing the tone, Peckinpah then depicts an old man in desperate circumstances. He has lost the last of his water to his two traveling companions. When he fails to gun them down, he is left stranded in the desert. In many ways, Cable Hogue is a more immediately sympathetic character than the men of the Wild Bunch. He does not possess the cold instinct of a killer and because of this fact he is left to die in the desert. Struggling against the elements for three days he eventually discovers water. Cable Hogue will live. Though he may not be a killer, he is certainly a survivalist. Hoping to monetize his well, he builds a small shack then rides into town to lay claim to the land. Yet many of the banks are unwilling to fund the old man. He is thought to be crazy, delusional. Through his determined efforts to find a financier, Peckinpah reveals the moral principle that animates Cable’s existence: respect. He gives respects to everyone he meets and he demands it from them in turn. His struggle against the harsh world of the desert Southwest is a battle to gain respect and to create a worthwhile existence.

Through his business dealings in town, Cable meets a beautiful blonde prostitute and Peckinpah uses their interactions to explore the power of male sexual desire. During their first conversation, Cable stares at her chest and Peckinpah employs a point of view camera angle to show his falling gaze. Just as Hitchcock depicted “the male gaze” in Rear Window, Peckinpah also demonstrates the overwhelming power of male sexual desire. Much like the ballerina across the courtyard is the object of James Stuart’s desire, Hildy is the subject of Cable’s lust. Yet despite his overwhelming attraction, Cable remains polite and respectful. Though the townspeople condemn Hildy, Cable treats her just as he would any other human being. He upholds his devotion to his moral code despite his lust and, as he begins to build a life, she gradually becomes a part of it. Yet like the men of the Wild Bunch, Cable Hogue has outlived his time and the success of his well is subverted by the advent of the automobile. Cable remains true to his moral code. Despite the power of his desire for his Hildy and the difficult realities of life in the desert Southwest, he maintains his self-respect and treats those around him with compassion and dignity.

The opening scenes of The Getaway depict the bleak monotony of prison life. Unlike the opening moments of The Ballad of Cable Hogue and The Wild Bunch, the first 10 minutes of The Getaway are relatively peaceful. Just as the shooting of the lizard and the gunfight were employed to depict the brutal reality of life in the dying days of the American West, Peckinpah uses the tedium of a day in prison to depict an equally dire situation. When Doc speaks to his wife Carol through a prison telephone, he tells her to go see the parole officer then hangs up. The implication is clear–Doc has grown desperate. Unbeknownst to the audience, Doc has asked Carol to bribe the officer with sex. Her sexuality is used as an object in Doc’s last attempt to gain freedom. Yet Doc is not a heartless man, he has simply run out of options. He is a classic Peckinpah character: a man with limited choices, struggling to maintain his humanity. Yet despite sacrificing his wife’s dignity, Doc nonetheless remains indebted to the corrupt parole officer. He is a convicted felon and his future is bleak. Drawn back into crime, his life quickly deteriorates into violence and chaos. After his wife nearly betrays him, their relationship begins to crumble. At the film’s nadir, as the couple sits stranded in a dump far from civilization, Peckinpah begins to reveal Doc’s moral code. So far Doc is little more than a veteran criminal who has difficulty trusting. Yet in the dump, Doc exposes his humanity vowing that if they survive, he wants to rebuild their relationship and learn to trust. The audience begins to see Doc as a human being. After successfully hitching a ride into Mexico with 750,000 dollars in a briefcase, his full character is revealed when he pays the man an excessive amount of cash for his old truck. Despite the horrors of his journey and his life of crime, he has retained his humanity. Doc is still a good man possessing the capacity for charity. Peckinpah employs Doc as a vehicle to demonstrate the goodness in the most hardened of hearts. Doc, like many Peckinpah characters, is a symbolic representation of the noble and wicked tendencies that lie dormant within all human beings. The Getaway is a film that addresses both spectrums of the human experience.

Often remembered for his startling depictions of violence, Peckinpah is sometimes denied the esteem that he deserves. Though his representation of the reality of bloodshed was groundbreaking, he should also be remembered as a filmmaker who confronted the complexity of morality. His films mark a break with the moralizing tradition of the 1950’s and early 1960’s and helped begin a new era in cinema in which filmmakers explored the true nature of the human condition. The moral struggles of his protagonists represented the fundamental conflict between good and evil that exists within all men. When speaking of his film Ride the High Country, Peckinpah said, “the people were real, the situations were real” (Callenbach 7). It was this willingness to embrace reality that made his films so powerful and resonant. He abandoned the “John Wayne” archetype to create dynamic characters indicative of the human experience. They struggled with best and worst of instincts and in doing so, represented the duality of man. He used violence and crass sexuality as a means by which to highlight the noblest of human virtues. Fundamentally, Peckinpah was an optimist whose belief in man’s capacity for good is demonstrated throughout his films.