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Kiss me, Joe, kiss me". In another nightmare regarding Annie who had a reputation for being a tramp , he also remembered her saying - as the authorities arrived: "He's the one. He's the only one" - implying something more sinister. The Texas stud was befriended by a limping and coughing homeless con artist named Ratso Rizzo Dustin Hoffman and they experienced an unspoken homosexual relationship together which included frequent bickering.

They both experienced the riches of the American dream when invited to a freaky Greenwich Village party by a "couple of fruity wackos" Gastone Rossilli and Warhol's Viva , where they found free food, drugs, and opportunities for sex.

At first, though, he suffered sexual inadequacy until angered when she teasingly suggested that he was gay: "Gay, fey. Is that your problem, baby? Afterwards by phone, she recommended his studly services to an unhappily-married female friend. Joe's final trick was with another homosexual - a middle-aged Catholic man named Towny Barnard Hughes. Back at the man's hotel room, in the last sordid act of his street-life existence, things turned violent. Joe ended up in a rage, brutally attacking the self-loathing, mother-dominated, despicable man after receiving a St.

Christopher's Medal and only ten dollars. He committed a horrible crime - he robbed the man of all his money and then brutalized the customer, probably killing him. He left after jamming the phone receiver into the man's bloodied, toothless mouth.

The Wild Bunch D. Sam Peckinpah. Sam Peckinpah's movie was both praised for its realistic vision of the dying West and lambasted for its graphic portrayal of savagely explicit violence. A so-called 'director's cut' version of the film, threatened with an NC rating when submitted to the MPAA ratings board in prior to a re-release in , held up the film's re-release for many months.

The film opened with innocent village children intrigued by putting red fire ants and scorpions together and setting fire to the swarming pile. Sam Peckinpah's harsh and extremely violent western cinematically visualized at both its beginning and end with rapid-fire and slow-motion segments the horrific, savage, yet glorified spectacle of death for a romantic band of men whose time had come.

Both sequences served up as counterpoints to the media's honest display of violence during the late 60s, with the Vietnam War, assassinations, urban riots, and other events filling the airwaves. The much-imitated, influential film was book-ended by these two extraordinary sequences, both massacres. The two scenes included some of the bloodiest, most violent shoot-ups ever filmed. Peckinpah choreographed each of the film's two bloodbaths as a visually prolonged, beautiful ballet - a semi slow-motion, aesthetically breath-taking, non-gratuitous, lyrical, extreme celebration of bodies spurting blood and being torn apart by bullets.

In the second sequence, the four Wild Bunch members loaded their rifles and marched across town - four abreast, reminiscent of the walk to the classic O. Corral in other westerns - to confront the drunken General Mapache, who held court next to the machine gun, his proud possession mounted on a table.

Pike demanded the return of Angel "We want Angel" , now bloodied, maimed and near-death from torture. Mapache appeared to comply, assisting Angel's walk over to them and then cutting his wrist ties with a knife.

But in a brutal, full-frontal view, Mapache slit Angel's throat and was immediately killed in retribution by Pike and then by Dutch Ernest Borgnine and Lyle Warren Oates. The precipitation of their last stand - a violent, seven minute bloodbath counter-attack of monumental proportions in the open courtyard - was delayed with a long moment of silence.

With their guns drawn, the four men were able to hold off hundreds of surprised and dumbstruck Mexicans, which now stood leaderless and still for several seconds, gaping at what had happened. Warily and then gleefully, Pike and Dutch smiled and laughed, realizing that for an instant, they just might succeed. However, in the end, they were outnumbered, surrounded, and condemned to die in the pending climactic battle.

It was truly an orgy of slaughter in one of the bloodiest scenes ever filmed, as the four remaining outlaws took down as many men as they could. Although some of the Wild Bunch held off the troops momentarily by using grenades and by commandering the machine gun and firing it with orgasmic intensity, they were soon wounded and killed.

With their violent deaths, they had become liberated. All rights reserved. Filmsite: written by Tim Dirks. Search for:. Facebook Twitter Email. Movie Title Screen. Roman Polanski The National Catholic Office for Motion Pictures reviled Polanski's dark horror classic for mocking religion and making "perverted use" of Christian beliefs. Rosemary: "This is no dream, this is really happening.

John Schlesinger The only X-rated Best-Picture winner, this gritty movie discomfited some viewers with its frank, non-judgmental depiction of homosexuality. Joe's Homosexual Hook-Ups. Flashbacks to Sex with Annie During Encounters. Sam Peckinpah Sam Peckinpah's movie was both praised for its realistic vision of the dying West and lambasted for its graphic portrayal of savagely explicit violence. Closing Sequence. Throat-Slitting of Angel. Lyle with Machine Gun. Mexican Troops.

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