The Tauranga Film Society meets every second Wednesday at the Luxe Cinema in Devonport Road.
Films are limited to Film Society members. Once you are a member ($120 for the full season or $40 for a 3-film sampler membership) there is no additional cost to see each film. The 12 month membership period starts at your date of joining.
For more info, contact
Kristine Keir
Email: taurangafilmsociety@gmail.com
The dates of films are on the Programme for the Year
This week’s film is Pat Garrett & Billy the Kid
When: Wednesday 1st October 6.00pm start
Where: Luxe Cinema, 21 Devonport Rd, Tauranga
Check out the trailer:
https://www.youtube.com/watch?v=3RfQ8KlKaTM&t=1s
and the review below.
Pat Garrett & Billy the Kid
Director: Sam Peckinpah (USA) 121 mins
“Sam Peckinpah’s cycle of genre-redefining westerns came to a close with this blood- and dust-caked elegy for the American West, which marries his renegade style with a fatalistic sense of finality. As newly minted lawman Pat Garrett (James Coburn) stalks the outlaw Billy the Kid (Kris Kristofferson) across the plains, their old friendship is twisted into rivalry, and mythic ideals of freedom come up against an emerging ruling-class order — all to the strains of a haunting soundtrack by Bob Dylan (who also appears as the mercurial Alias). Pat Garrett and Billy the Kid — presented here in a new 4K digital restoration of the 50th Anniversary release — stands as perhaps the maverick auteur’s richest, most mature work, a world-weary ballad that bears the solemn weight of history passing into legend.”
– Criterion
“Set to a haunting soundtrack by co-star Bob Dylan, Sam Peckinpah’s final western is an elegiac and haunting meditation on integrity, survival and freedom. James Coburn’s renegade-turned-lawman Pat Garrett hunts down his former friend, Kris Kristofferson’s Billy the Kid, with both men chilled by the winds of change. Shot through with a melancholy verging on fatalism, the film ranks among the director’s very finest works.”
– BFI Southbank
“Pat Garrett and Billy the Kid would be Peckinpah’s final ‘proper’ western… Its quiet notes of fatalism are the fullest development of the more caustic revisionism that Peckinpah’s earlier work displayed, replacing grisly ultraviolence for its own sake with a meditative study of its aftermath.”
– Jake Cole, Slant
