Bring Me the Head of Alfredo Garcia 4K 1974

It's interesting, but if you look at some directors, you can find a number of authors who seem to be twin pairs. Repeating not so much each other's formal compositions, but rather embodying a similarity of approach, closeness of manner and similarity of technique. So appropriate comparisons: Gilliam-Burton, Hitchcock-Clouseau, Wenders-Jarmusch, Dreyer-Bergman, Chaplin-Tati, etc.

Probably the most similar American couple in classic Hollywood was Samuel Fuller and Sam Pekinpa. Directors who shot extremely tough action-dramas, in which the animal beginning of man burst out the ultimate fountain of passion. In both of them, from the lightweight genre and budget minimum, grew a vertical, scale- 'Big Cinema'.

'Bring me the head of Alfredo Garcia'- a minimalist neo-western, combining a modern entourage with the changed horses for cars 'gangmen' and the spirit of the 'Wild West' (in this case, the 'Wild South'), peculiar to the classics of cowboy action movies of the 50-60s. Nothing has changed, except that the 'Colt'- has been replaced by a multi-gun 'Browning', and 'Winchester'- by a short machine gun. Greed - the thirst that dries up the souls of lone sinners - has remained in place, along with the fatal outcome for anyone left behind by the blind 'Lady Luck'.

In Pekinp's case, there is traditionally no division between good, bad and evil, in the extreme objectivity of American movie stamps. There is not a single positive hero in principle - only the 'scale of nastiness' varies for everyone. From Benny, a madman in the pursuit of his goal, to his slutty girlfriend, from the hired killers on their trail to Alfredo Garcia himself, because of whom the whole fight broke out.

The bloody clod rolls on itself every next 'shot soul', and the 'golden idol' - waiting for more and more sacrifices in the offering. Rock'n'roll spirit hovers in the depths of the production's sharpness, and any woman can, without unnecessary gentlemanliness, get a 'slap on the wrist', for the cause and without. Rodriguez and the Coen brothers are nervously writing down in their notebooks 'how to make a movie', while the genius of Pekinpa demonstrates how for 'five pennies', with talent and history, you can make a benchmark of the genre, beyond its decorative aesthetics.

Does Pekinpah exemplify the image of the 'ordinary American'? Not at all, he demonstrates his true type - an unscrupulous little man, striving to be the first in everything, climbing over other people's shoulders and heads to the peak of the 'Great American Dream' - immense and eternal material wealth.

A suitcase with a million dollars, what more do you need? But in every, even the most complete creature, there is a latent idealist dying, struggling, and sometimes still living.