I started writing a post about Sam Peckinpah’s oft-maligned and clearly broken 1965 Western, Major Dundee; I’d bought the recent Arrow 2-disc Blu-Ray, swayed into a rare blind-buy simply because of how gorgeous and finely curated the release is, as well my past affinity for and interest in both Peckinpah’s other films (chiefly Bring Me The Head of Alfredo Garcia, which itself was a sumptuous Arrow release awhile back) and those of Charlton Heston (for all the many Hollywood icon reasons, but also curiously having seen his Hollywood debut, Dark City not so long ago). My post started with a commentary about broken films and how Major Dundee fits into a particular group of films that includes Orson Welles’ The Magnificent Ambersons and Touch of Evil and it became evident it was bogging-down my actual comments regards Major Dundee, so I’ve decided to split the post into two: so here’s part one, and thoughts about broken films in general (hopefully Part Two will follow shortly).
There is clearly something seductive, for film lovers, regards broken films, or the films that never got made. In a way, its difficult to distinguish between the two because although Major Dundee got made, it clearly isn’t the film that Sam Peckinpah intended it to be. Hardcore fans of the director can no doubt wax lyrical regards what it could have been; the three-hour roadshow epic that would have been a Western intended to rival epics like Lawrence of Arabia, and Peckinpah’s subtle (or maybe not so subtle) inversion of the traditional Western hero and America’s usual rose-tinted myth of the Wild West. With films such as Major Dundee, it is at the heart of their fascination; the endless wondering about what might have been, what should have been, and the why: the latter is where the ranting comes in, and usually becomes a heated discourse about the dichotomy of the art and the business of film-making.
Peckinpah himself was guilty of this, always bitterly blaming others regards the failure of Major Dundee, a revisionist commentary whenever he mentioned the film in the years after its release, when even the strongest of his apologists would accept he deserved much of the blame himself too, the film a troubled production. Its clear though that Peckinpah had valid reason to feel bitter- taken out of the editing suite, I can only imagine his horror when he only finally saw the finished film at its premiere. I haven’t watched all of the theatrical version, only initially watching the extended version and then later sampling the theatrical, but what I have seen of it with its awful Daniele Amfitheatrof soundtrack music is astonishingly bad. Its a good example of how a film can be ruined by a bad music score, as right from the main titles it turns the film into a bizarre parody of Peckinpah’s intentions. Just how derided and woeful this music score is, can possibly be construed from the fact that it was replaced by a new score by Christopher Caliendo in 2005 when the film was restored to that first assembly: there are likely other examples, but I cannot recall another case of a film getting its score totally replaced during a restoration.
The extended cut that has become how we now watch Major Dundee is no directors cut- I understand from what I have seen/read that its a producers assembly from when Peckinpah was taken off the picture which was then further edited into what then became the theatrical. I’m always fascinated by alternate cuts of films, and how even the slightest alternate edits of scenes can change their meaning and tone and indeed the film itself, and not always for the better.
A discussion regards broken films can get side-tracked by directors cuts and extended cuts of films- the home video boom of VHS, Laserdisc and DVD allowed for so many versions of films to be released and this actually saved some of the films and possibly damaged others. The assembly cut of Alien 3 is one of the best examples of a broken film being ‘saved’, but I’ll be the first to admit that I don’t like -to the extent I can likely never rewatch it- the Redux version of Apocalypse Now, so its not the case that restorations and extended versions are always such a good thing. In any case, this isn’t what I’m really getting at with regards this post about broken films, and I’m concious not to get pulled into this particular hornets nest. Maybe there should be a distinction between ‘lost’ films, and those broken films which can be ‘fixed’ sometime later via restoration. Welles’ The Magnificent Ambersons is gone, lost, and the film the subject of much adoration and grievance from those who appreciate what might have been.
So getting back to Major Dundee and its status of being a film that ‘might have been/could have been…’ in just the same way as Welles’ The Magnificent Ambersons and so many other films where troubled production and disagreements/dissatisfaction from studios resulted in films not being everything they might have been. Very often the stories about the making of the films can be more interesting than the films themselves, and I’m confident I’m not alone in saying that the making of Major Dundee is possibly more fascinating than the film we have. Decades of tall-tales, rumours and hearsay only add to the myths surrounding some of these movies, and indeed any film-lover will have interest in the politics and friction surrounding the making of the films that work and are a success, never mind those that fell astray. Films are a uniquely collaborative medium, whatever the auteur theory that persists and is generally accepted. How much the director is author of a film is possibly a tangential discussion when examining broken films, but its a valid one: in the case of Peckinpah, Major Dundee‘s failure is usually attributed to others even by those who hold Peckinpah partly responsible too, but had Major Dundee been a perfect film, likely credit would have mostly, if not wholly, been given to the director. It is always Hitchcock’s Vertigo, or Ridley Scott’s Blade Runner, or Steven Spielberg’s Saving Private Ryan. Its curious that very often when films don’t work out as well as hoped, its not the directors total responsibility, there’s plenty of candidates subjected to blame (for my own part, I always feel the central part of what works or undermines a film is its screenplay- everything, the actors performances, the directors visual flair, is dependant on the foundation of a working and concise effective script, but its just as wrong to call it Hampton Fancher’s Blade Runner). I think I’m digressing into authorship of movies and I didn’t intend to.
There is a tension between the business of making movies- a studio and its backers financing a film hoping to make a profit in return- and the art of making films, the creative team making a film worthy as a piece of entertainment and indeed possibly a work of art in itself. Sometimes both happens, sometimes one and not the other- bad films have made lots of money, great films have failed and made a loss. I have often stated that I don’t think anyone intentionally makes a bad film but I suppose in the real world, every project/film is a pay check and ones personal investment evidently varies. Film lovers generally -maybe rightly, who knows?- cite the creatives a the good guys and the studio brass as the bad guys, the ones who complicate matters citing budget and time overruns in the face of a directors efforts to make the perfect, best film he can. Its out of all this tension though that films flounder and fail, as films if not as products made for a profit. I mentioned in an earlier post the popularity of horror films as a genre when many if not most of the horror films made are very poor, but part of their popularity is how cheap they are to make, how easy they are to market and usually how that translates into something profitable.
So again, trying to get back to Major Dundee– its a film that had problems from the start, and its one of those films that was made without a finished script (which, if you consider my own thoughts regards how important a foundation a good screenplay is, speaks volumes), and I’m always surprised and aghast at how often that happens. Star Trek: The Motion Picture was being shot and Robert Wise didn’t have a finished script, the last third of the film was a blank, pretty much, and they made it up on the fly, mostly. Which seems an incredible thing considering the investment into what was such a major motion picture and no small reason why the film turned out as troubled as it did. So it was with Major Dundee in regards how the film starts very well- the first half, at least in the extended version, is a great entertaining film- but slowly fragments into a incoherent mess as it runs into its second half, with a very odd romantic element for Dundee that seems abruptly thrown in from some other movie, and very messy finale with characters suddenly acting very strangely (probably because whole scenes have been cut or never even shot). Cutting the budget and production schedule and shooting it in a very difficult location were only part of the films problems, as was feuding actors and its drunk and antagonistic director but hey, the making of Major Dundee would make a great picture in itself.
Part Two of this review of Major Dundee will follow…