(Kris Kristofferson at the Kentucky Theatre in Lexington, Kentucky, last week)
LEXINGTON, Ky. - Billy the Kid is fighting a hopeless battle in Sam
Peckinpah’s classic 1973 Western, Pat
Garrett and Billy the Kid. He refuses to concede the freewheeling West that
is fading around him to big landowner John Chisum or the Big City moneymen
who are coming in Chisum’s wake to divide among themselves the spoils of an
emerging new West.
However, Billy’s longtime friend-turned-lawman Pat Garrett
has made his peace with Chisum and the moneymen and accepted their offer to
hunt down the West’s most notorious gunfighter.
Folks in Lexington, Kentucky, last week got a chance to see Pat Garrett and Billy the Kid again on
the big screen at the downtown Kentucky Theatre, a fundraising event for the
upcoming Harry Dean Stanton Festival. Actor-singer-songwriter Kris
Kristofferson, who starred as Billy the Kid, spoke at the event and even
sported the same pair of boots that he wore in the film.
“Working with Sam Peckinpah was definitely a wild ride, one
of the greatest experiences of my life,” Kristofferson told the crowd of 650 at the May 23 showing. “Working on this film was a dream come true. We got to ride horses, shoot guns.”
The film showing was organized by Lucy Jones, creator of the
annual Harry Dean Stanton Festival in Lexington. Stanton was also in the cast
of Pat Garrett and Billy the Kid. Your
Labor South correspondent attended as
part of his research for an upcoming biography of Stanton.
Peckinpah’s film, written by Rudy Wurlitzer with a musical
score by Bob Dylan (who also co-stars), tells a different side of the story
than the 1970 Western Chisum, which starred
John Wayne in the title role. In that film, Chisum teams with Billy the Kid and
Pat Garrett to fight the bad guys.
Peckinpah’s film depicts Chisum as the last of a dying breed
of uniquely American landowners, larger than life, often self-made, hard-working
men of achievement but also rigid in their views, unwilling to relinquish
power, judgmental of others less fortunate and removed from their daily
struggles. Coming in Chisum’s place are new-fangled city investors and finance
men, anonymous and rapacious, interchangeable, early versions of those modern-day venture
capitalists who don’t make or create but enrich themselves by skimming off the
hard-earned gains of others.
This is a 44-year-old film that still resonates today as
Wall Street continues to further separate itself from the rest of America, and
its servants in the White House and halls of Congress make that separation ever
more profitable, much as they did in the Teapot Dome Scandal of 1920. In that
scandal, which inspired Peckinpah in the making of this film, officials in the
Harding Administration colluded with wealthy oilmen to help them grab lucrative
oil leases in the West that had earlier been under the control of the federal
government.
Filmgoers in Lexington applauded loudly at the Kentucky
Theatre last week. They watched a great movie with one of its stars sitting
among them. They also got a chance to see the importance and value of art well
done, how it can remind us that we face many of the same challenges our
ancestors faced, that we have yet another chance to overcome those challenges,
that the human story goes on, debased at times, sure, but noble and inspiring,
too, and ever in need of compassion.