I like the storyline of this show,it attract me so much

Excellent, Without a doubt!!

Tells a fascinating and unsettling true story, and does so well, without pretending to have all the answers.

The story-telling is good with flashbacks.The film is both funny and heartbreaking. You smile in a scene and get a soulcrushing revelation in the next.

Sam Peckinpah's "Pat Garrett and Billy the Kid" has much in common with "One-Eyed Jacks"; Marlon Brando's take on the Billy the Kid story, which was based on Charles Neider's novel, "The Authentic Death of Hendry Jones". Although Neider's book, ridiculously renamed "Guns Up" in a Pan paperback edition (the one I read), is a fictionalised account, it is an unforgettable masterpiece, invoking a unique sense of nostalgia for the Old West. Peckinpah loved the book and was inspired to write what turned out to be the first screenplay for "One-Eyed Jacks", later made by Marlin Brando who changed just about every element. Although Peckinpah dropped out of that project early, when he finally got a chance to make his version, he moved a long way from Neider's book. In fact, the script moved closer to the historical record. However, although Neider's book is not credited, it's obvious that Peckinpah tried to capture its spirit. The story tells how Pat Garrett and Billy the Kid once rode together, but eventually found themselves on opposites sides of the law. When Billy brutally escapes from jail, in one of the film's best sequences, it sets in motion a ruthless hunt by Pat Garrett, which can only have one ending.Peckinpah actually frames the film with the death of Garrett. This sequence along with others have the trademark Peckinpah slow motion deaths with arching blood spray - techniques that had already become a little hackneyed even by 1973.However, the central problem was in Peckinpah's casting of Kris Kristofferson. Not so much, as many reviewers have suggested, that at 37 he was too old to play Billy the Kid, but more because he just didn't project the necessary sense of danger; he comes across as too affable, too laid back. Brando in "One Eyed Jacks" gave a stunning performance as a man with a dangerous edge, and although it might seem unfair to compare the two, that lack of threat is a key weakness in Peckinpah's film.Bob Dylan is in the movie and also provides a couple of very nasally songs on the soundtrack; his presence isn't just anachronistic, it's bizarre.On the other hand, James Coburn is just about perfect as Pat Garrett, and the rest of the cast is probably the greatest coming together of iconic stars from western movies ever - Chill Wills, Slim Pickens, Jack Elam, LQ Jones, Katy Jurado, Gene Evans, Paul Fix and others - one of the joys of the film is in spotting them.Apparently the film was badly cut by the studio. Despite that, and some strange decisions by Peckinpah himself, the film is nothing less than interesting. But because of all the tampering, like Brando's film, it misses out on greatness. As for Neider's book, it still awaits the right filmmaker to give it the definitive treatment on the screen.

Fans of Sam Peckinpah and Fans of the Movie Western seem to give this Meandering Semi-Incoherent Film a Pass because it is a Sam Peckinpah Western. There are Moments in this Troubled Production that are Poignant and Beautifully Gritty. There are just as Many Others that are Clunky and Awkward.Much Controversy Arises Concerning this Movie the Least of Which is the Casting and Utilization of Bob Dylan as an Actor and His Songs. At Times the Inclusion of the Musical Numbers can be Heartfelt and Effective and at Other Stages not so much. But Using the Dylan (Lyrics or not) Material doesn't do too much to Diminish the Overall Effectiveness. As an Actor in a Smallish Role Mildly Detracts but Again not to the Detriment of the Whole.James Coburn and Kris Kristofferson as the Title Characters, it can be Argued, are Good Enough and along with the Slew of Familiar Faces and Odd Ball Stalwarts the same can be Said. So just what is the Major Malfunction that Keeps this from Becoming a Great Peckinpah, like say The Wild Bunch (1969) or Ride the High Country (1962) or to a Lesser Extent, Fine Films like Straw Dogs (1972) or the Getaway (1974)?The Answer My Friend is the Gloomy, Sombre, Lethargic, Motionless Pace and the Stumbling Editing. Add to that a Few Scenes of some Stiff and Unnecessary Nudity and a Couple of Other Ill-Advised Excesses and Underdeveloped Important Characters. The Studio Interference and the Director's Personal Detachment from Alcohol Abuse and General Belligerence around the Set are most Likely Contributions.Overall it is Worth a Watch and which Version is not that Important because as a Complete Peckinpah Picture it Works more than it Doesn't and is not one of His Worst and not one of His Best.

I never liked "Pat Garret and Billy the Kid" very much. In fact, there are few 1970s Westerns that I like. I still find ironic that, in the decade of the feminist movement, the heroine's role became expendable, reduced to a sexual object to be used and discarded by the hero (i.e. Pat Garrett in the bathtub with the prostitutes). This said, "Pat Garrett and Billy the Kid" contains one of the most beautiful love scenes ever made. And yes, I am conscious that this is a Sam Peckinpah film. Yet he has always been capable of tenderness (the flash-forward in "The Getaway", with McGraw and MacQueen jumping into a river, immediately comes to mind).Veterans Katy Jurado and Slim Pickens play a husband-and wife team of guns for hire, brought out of retirement for a last job. Katy Jurado had been a beauty in her earlier films (see her in "High Noon"). Here, her looks had faded, but she retained her serene demeanour. Slim Pickens had never been handsome. He usually played a crook with a mischievous smile, here substituted for a venerable old man expression. While Garret (James Coburn) deals with the last villain standing, Katy realises Slim has been shot. She runs to the river where he agonises, his stomach pierced by a bullet. She kneels opposite him, looking at him with the saddest eyes in the world, trying to absorb every second they have left. He looks back, as if saying sorry for dying. There is no dialogue. They have gone through so much together that words are unnecessary. Then, the sun sets in the background, while "Knockin' on heaven doors" plays. This is not only the death of a character. This is the death of the classic western. Jurado and Pickens had been stock figures of the genre in countless productions during the 1950s. By the late sixties, the formula had worn out. Pure heroes and heroines had no place in the cynical Vietnam era, which advocated shades of grey. Heroes (like Pat Garret) could be morally reprehensible, while it was possible to feel for the villains (like Billy the Kid). Like Jurado and Pickens, the classic western was not youthful or pretty any more, but certainly died with lots of dignity.

I saw this was on TCM the other night and I recorded it, merely because I knew it was supposed to be good and I hadn't seen a Peckinpah film before. Despite how massive TCM's black screen banners are, and despite how quiet the film was, it still kept me engaged. James Coburns' masterful performance as wrinkly bandit Pat Garret was smouldering, his lawman bubbled with a mix of sadism, violence, and broken honour. He was far and away the best actor in the film. Comparatively, Kris Kristofferson just didn't hold up, I just plain didn't like him, and he didn't come across strongly enough as anything. It seems to me he's grown more expressive and nuanced as he's gotten older, though it may just be that against a giant like Coburn he seemed like little more than a distraction.Though his performance was woeful, Dylan's soundtrack is a thing of beauty and joy, setting the tone of the movie, perfectly complimenting some scenes and brilliantly offsetting others. The scene in which Knocking On Heavens Door is used is possibly one of the most beautiful and moving sequences in any film I've seen, it was utterly breathtaking.Much of that is done by the cinematography, which is frequently fantastic. There are several shots that had my mouth wide open, agape. Peckinpah is also well versed in directing shoot-out's,and building tension before and after. Though the make up and special effects look laughable now, the brutality and voyeurism of the violence haven't faded one iota.The print was very quiet though, so it was often hard to decipher what people were saying. As such, there were various moments when I was just waiting for the next scene, as the one playing was too quiet to enjoy. This is a film that I can't wait to watch again, and will certainly be buying on DVD, along with the soundtrack on CD. A brilliant, moving western from a great director.