Creator: Sam Peckinpah
"Well, killing a man isn't clean and quick and simple. It's bloody and awful. And maybe if enough people come to realize that shooting somebody isn't just fun and games, maybe we'll get somewhere."David Samuel "Sam" Peckinpah (1925-1984) was a director of manly movies. An eccentric drug-abuser and lifelong alcoholic who was notorious for his gruff demeanor and rocky relationships with women, Peckinpah created a number of films that perfectly reflect his own personality: violent, nihilistic and cynical. Some of them stand as modern classics.His filmography includes:
— Sam Peckinpah
- Ride The High Country: A tale about two aging ex-lawman guarding a shipment of gold in early 20th century California, it had lackluster box office when it was released in 1962 but has since been Vindicated by History.
- Major Dundee: A vicious Deconstruction of the Cavalry Vs. Indians formula crossed with Moby-Dick. A victim of extensive Executive Meddling, it (and The Cincinnati Kid from which he was fired) set the stage for Peckinpah's contentious relationships with producers and studio heads during the production of his later films.
- The Wild Bunch: His most famous film, an infamously violent anti-western about aging bank robbers in the changing west.
- The Ballad Of Cable Hogue: This is a lesser-known mostly non-violent change of pace film about the proprietor of a water hole during the last days of the Old West.
- Straw Dogs: A nebbishy professor gets pushed to the brink and violently reasserts his masculinity. Remade in 2011.
- Junior Bonner: Another uncharacteristically non-violent film starring Steve McQueen as an aging rodeo bull-rider.
- The Getaway: A crime caper also starring Steve McQueen that was remade in 1994.
- Pat Garrett And Billy The Kid: Perhaps best known for being the origin of Bob Dylan's "Knocking on Heaven's Door."
- Bring Me the Head of Alfredo Garcia: A bloody modern western.
- The Killer Elite: A freelance spy seeks his traitorous ex-partner. Remade in 2011.
- Cross of Iron: His only war film, and an inspiration for Tarantino's Inglourious Basterds.
- Convoy: A trucker film based on the novelty country song.
- The Osterman Weekend: His final film, based on the Robert Ludlum novel.
Sam Peckinpah's life and signature style include:
- The Alcoholic: His alcoholism received an almost memetic status in his lifetime.
- Black and Grey Morality
- Cultured Badass: A rough-and-tumble, hard-drinking man's man with a deep appreciation for art and classical literature (Hemingway, Melville and Shakespeare being particular favorites).
- Executive Meddling: Frequently a victim of it, as he made little effort to compromise with studio heads or producers. Major Dundee and Pat Garrett and Billy the Kid are the most extreme, though by no means the only examples. The Wild Bunch was a notable aversion: he worked well with producer Phil Feldman, though he disagreed with Feldman's decision to cut several scenes from the film.
- Gorn: They are pretty violent even today, so by older standards, they count as this trope.
- Honor Before Reason
- Kill 'em All
- Magnum Opus Dissonance: He reportedly preferred The Ballad of Cable Hogue to his more famous (and violent) works like The Wild Bunch and Straw Dogs.
- No Kill Like Overkill
- New Old West: Seen in The Wild Bunch, Junior Bonner, and Bring Me the Head of Alfredo Garcia.
- Production Posse: Warren Oates, Ben Johnson, James Coburn, Kris Kristofferson, Strother Martin, L.Q. Jones, R.G. Armstrong, John Davis Chandler, David Warner, Cassie Yates, Aurora Clavell to name the most frequently occurring. He also frequently worked with cinematographer Lucien Ballard and composer Jerry Fielding.
- Rated M for Manly: Masculinity, violence and revenge are common themes. The dark and nihilistic tone of his films is sometimes read as a deconstruction of the trope.
- A Real Man Is a Killer
- Sliding Scale of Idealism vs. Cynicism: He fell deeply onto the "cynicism" side of the spectrum, becoming nihilistic in the process.
- Sociopathic Hero
- Twilight of the Old West: The end of the Wild West and the beginning of the Modern Age is a common theme in many of his best-known films like Ride The High Country, The Wild Bunch, and The Ballad Of Cable Hogue.
- The Western: Many, obviously, but perhaps notably, his film Westerns are almost exclusively set in the Twilight of the Old West or the New Old West rather than the "classic" period.