Billy's new direction in life didn't last all that long.
His moving over to the side of right didn't prevent tragedy from striking on Billy the Kid Season 2 Episode 3.
And Billy's extreme sense of righteousness was sure to take him the rest of the way back to the wrong side of the law.
The problematic part about basing a TV series on historical events is that any viewer with Google can essentially predict the narrative.
Also, there was a reason that William Bonney never became Billy the Conflicted Middle-Aged Adult. This is a show with a historically built-in expiration date, unlike one built around a fictional character.
That's a shame because Tom Blyth's Billy is an enjoyably complex character who viewers got to watch grow up over the series' first season.
One thing Billy has been missing since his mother Kathleen's death from consumption on Billy the Kid Season...
His moving over to the side of right didn't prevent tragedy from striking on Billy the Kid Season 2 Episode 3.
And Billy's extreme sense of righteousness was sure to take him the rest of the way back to the wrong side of the law.
The problematic part about basing a TV series on historical events is that any viewer with Google can essentially predict the narrative.
Also, there was a reason that William Bonney never became Billy the Conflicted Middle-Aged Adult. This is a show with a historically built-in expiration date, unlike one built around a fictional character.
That's a shame because Tom Blyth's Billy is an enjoyably complex character who viewers got to watch grow up over the series' first season.
One thing Billy has been missing since his mother Kathleen's death from consumption on Billy the Kid Season...
- 10/30/2023
- by Dale McGarrigle
- TVfanatic
"The picture that couldn't be stopped!" trumpeted the tagline for "The Outlaw," Howard Hughes' fictional tale of Pat Garrett and Billy the Kid, with Doc Holliday and a little of Jane Russell's cleavage thrown in for good measure. The latter made the film one of the most controversial pictures of its day, and it would take the Hollywood mogul five years to secure the movie a wide release.
Producer and director Hughes had no qualms about using Russell's sex appeal to sell his movie; when it came to picking a young starlet to play her part from a nationwide casting call, Hughes chose Russell because her bust was the most to his liking. Much of the publicity was focused on the 19-year-old making her screen debut, resulting in one of the most famous and controversial images of '40s Hollywood: Jane Russell reclining in a haystack with a gun in her hand,...
Producer and director Hughes had no qualms about using Russell's sex appeal to sell his movie; when it came to picking a young starlet to play her part from a nationwide casting call, Hughes chose Russell because her bust was the most to his liking. Much of the publicity was focused on the 19-year-old making her screen debut, resulting in one of the most famous and controversial images of '40s Hollywood: Jane Russell reclining in a haystack with a gun in her hand,...
- 12/18/2022
- by Lee Adams
- Slash Film
Don Kaye Mar 11, 2019
Vincent D’Onofrio on directing his first Western, The Kid, plus whether he’d like to play Kingpin again if Daredevil ever returns.
Vincent D’Onofrio has been turning out superb acting work ever since the world saw him in his breakout role as Private Leonard “Gomer Pyle” Lawrence in Stanley Kubrick’s acidic 1987 Vietnam War classic, Full Metal Jacket. Since then, the Brooklyn-born, 59-year-old actor has made his mark in movies, TV and on the stage, including films like Mystic Pizza, The Break-Up, Ed Wood, Men in Black, The Magnificent Seven, Jurassic World and many more. But he may be best known to many for two career TV roles: as Detective Robert Goren on Law and Order: Criminal Intent, and more recent as Marvel Comics arch-villain Wilson Fisk, a.k.a. Kingpin on Netflix and Marvel TV’s Daredevil.
Now D’Onofrio is taking on a new role: as director.
Vincent D’Onofrio on directing his first Western, The Kid, plus whether he’d like to play Kingpin again if Daredevil ever returns.
Vincent D’Onofrio has been turning out superb acting work ever since the world saw him in his breakout role as Private Leonard “Gomer Pyle” Lawrence in Stanley Kubrick’s acidic 1987 Vietnam War classic, Full Metal Jacket. Since then, the Brooklyn-born, 59-year-old actor has made his mark in movies, TV and on the stage, including films like Mystic Pizza, The Break-Up, Ed Wood, Men in Black, The Magnificent Seven, Jurassic World and many more. But he may be best known to many for two career TV roles: as Detective Robert Goren on Law and Order: Criminal Intent, and more recent as Marvel Comics arch-villain Wilson Fisk, a.k.a. Kingpin on Netflix and Marvel TV’s Daredevil.
Now D’Onofrio is taking on a new role: as director.
- 3/11/2019
- Den of Geek
The extended dance of death played out by lawman Pat Garrett and outlaw Billy the Kid has inspired countless accounts of varying authenticity in literature, cinema and primetime TV, ranging from Sam Peckinpah’s violently elegiac 1973 Western (featuring a singularly hunky Kris Kristofferson as the desperado also known as William Bonney) to “The Tall Man,” a 1960-’62 NBC series which fancifully imagined Garrett (Barry Sullivan) and Billy (Clu Gulager) as frontier frenemies in Lincoln, N.M.
It’s to the considerable credit of actor-turned-director Vincent D’Onofrio and screenwriter Andrew Lanham that they’ve come up with a satisfyingly fresh take on this familiar mythos in “The Kid,” a consistently involving and often exciting drama in which the two Wild West icons are presented from the p.o.v. of an impressionable adolescent who weighs the pros and cons of each man as a role model.
The title refers not...
It’s to the considerable credit of actor-turned-director Vincent D’Onofrio and screenwriter Andrew Lanham that they’ve come up with a satisfyingly fresh take on this familiar mythos in “The Kid,” a consistently involving and often exciting drama in which the two Wild West icons are presented from the p.o.v. of an impressionable adolescent who weighs the pros and cons of each man as a role model.
The title refers not...
- 3/8/2019
- by Joe Leydon
- Variety Film + TV
Venice International Film Festival
VENICE, Italy -- Todd Haynes' highly impressionistic docudrama "I'm Not There" is "inspired by the life and work of Bob Dylan," though pop's leading troubadour is not mentioned, barely seen and not heard very much in the production.
Instead, an eclectic mix of actors including Heath Ledger, Christian Bale, Cate Blanchett and Richard Gere portray characters whose lives run parallel to or are informed by Dylan's life. There's plenty of the singer-songwriter's music on hand but sung by others. Filled with incidents that echo famous moments in Dylan's life, the goal is to summarize all the disparate elements in his career.
A long film, at 135 minutes, it's difficult to see who the prime audience will be for the picture, screened in competition at the Venice Film Festival. It's a curiosity that could delight or turn off loyal Dylan fans and may prove too oddball to draw in younger and mainstream audiences.
The guiding principal of Dylan's life is declared right at the start as a character who calls himself Woody Guthrie, an 11-year-old black guitar picker played by Marcus Carl Franklin, is advised to "live your own time, child, sing about your own time."
Woody rides the rails and tells stories about the days of the Depression, but in another incarnation, Jack Rollins (Bale), he starts to create the songs that stunned and inspired a generation.
The film jumps all over the place, introducing Arthur (Ben Whishaw), a view of the man as young poet, and then as an actor named Robbie (Ledger), who shows his romantic side. Many scenes are given over to Jude Quinn (Blanchett), the colorful, wisecracking Dylan from the '60s. But then it's back again to Bale, only now he's Pastor John, in a role that illustrates the performer's Christian conversion and decade as a gospel singer.
Finally, there is a passage about Billy the Kid (Gere), who survives his encounter with Sheriff Pat Garrett to live a quiet life in a place named Riddle until events conspire to bring him to public attention again.
Haynes directs all of these people and places with great flair, helped immensely by cinematographer Edward Lachman and his mostly inspired cast. Whishaw, an intense young British stage actor, speaks directly to the camera, while Bale inhabits both the younger Dylan and the religious convert with typical concentration.
Gere is effective in the Western sequence, though that segment's relevance is difficult to grasp. True, Dylan co-starred in Sam Peckinpah's film about William Bonney.
The star of the show is undoubtedly Blanchett, who has great fun playing Dylan as a showboat who quite knowingly goes about creating his reputation for rebellious independence.
Randall Poster and Jim Dunbar put together the musical soundtrack, which features the obscure Dylan title track from "The Basement Tapes", which he recorded with the Band at Woodstock in 1967. There's also a new cover version by Sonic Youth.
The film is said to have the endorsement of Dylan, which must have taken some courage given the ragged edges of his life on display. But the film fits well with his singular ability to reinvent himself while really putting us nowhere nearer to fully understanding the man.
I'M NOT THERE
Killer Films
Director: Todd Haynes
Writers: Todd Haynes, Oren Moverman
Producers: Christine Vachon, James D. Stern, John Sloss, John Goldwyn
Director of photography: Edward Lachman
Production designer: Judy Becker
Music: Randall Poster, Jim Dunbar
Costume designer: John Dunn
Editor: Jay Rabinowitz
Cast:
Jack/Pastor John: Christian Bale
Jude: Cate Blanchett
Woody: Marcus Carl Franklin
Billy: Richard Gere
Robbie: Heath Ledger
Arthur: Ben Whishaw
Claire: Charlotte Gainsbourg
Allen Ginsberg: David Cross
Keenan Jones: Bruce Greenwood
Alice Fabian: Julianne Moore
Coco Rivington: Michelle Williams
MPAA rating R, running time 135 minutes...
VENICE, Italy -- Todd Haynes' highly impressionistic docudrama "I'm Not There" is "inspired by the life and work of Bob Dylan," though pop's leading troubadour is not mentioned, barely seen and not heard very much in the production.
Instead, an eclectic mix of actors including Heath Ledger, Christian Bale, Cate Blanchett and Richard Gere portray characters whose lives run parallel to or are informed by Dylan's life. There's plenty of the singer-songwriter's music on hand but sung by others. Filled with incidents that echo famous moments in Dylan's life, the goal is to summarize all the disparate elements in his career.
A long film, at 135 minutes, it's difficult to see who the prime audience will be for the picture, screened in competition at the Venice Film Festival. It's a curiosity that could delight or turn off loyal Dylan fans and may prove too oddball to draw in younger and mainstream audiences.
The guiding principal of Dylan's life is declared right at the start as a character who calls himself Woody Guthrie, an 11-year-old black guitar picker played by Marcus Carl Franklin, is advised to "live your own time, child, sing about your own time."
Woody rides the rails and tells stories about the days of the Depression, but in another incarnation, Jack Rollins (Bale), he starts to create the songs that stunned and inspired a generation.
The film jumps all over the place, introducing Arthur (Ben Whishaw), a view of the man as young poet, and then as an actor named Robbie (Ledger), who shows his romantic side. Many scenes are given over to Jude Quinn (Blanchett), the colorful, wisecracking Dylan from the '60s. But then it's back again to Bale, only now he's Pastor John, in a role that illustrates the performer's Christian conversion and decade as a gospel singer.
Finally, there is a passage about Billy the Kid (Gere), who survives his encounter with Sheriff Pat Garrett to live a quiet life in a place named Riddle until events conspire to bring him to public attention again.
Haynes directs all of these people and places with great flair, helped immensely by cinematographer Edward Lachman and his mostly inspired cast. Whishaw, an intense young British stage actor, speaks directly to the camera, while Bale inhabits both the younger Dylan and the religious convert with typical concentration.
Gere is effective in the Western sequence, though that segment's relevance is difficult to grasp. True, Dylan co-starred in Sam Peckinpah's film about William Bonney.
The star of the show is undoubtedly Blanchett, who has great fun playing Dylan as a showboat who quite knowingly goes about creating his reputation for rebellious independence.
Randall Poster and Jim Dunbar put together the musical soundtrack, which features the obscure Dylan title track from "The Basement Tapes", which he recorded with the Band at Woodstock in 1967. There's also a new cover version by Sonic Youth.
The film is said to have the endorsement of Dylan, which must have taken some courage given the ragged edges of his life on display. But the film fits well with his singular ability to reinvent himself while really putting us nowhere nearer to fully understanding the man.
I'M NOT THERE
Killer Films
Director: Todd Haynes
Writers: Todd Haynes, Oren Moverman
Producers: Christine Vachon, James D. Stern, John Sloss, John Goldwyn
Director of photography: Edward Lachman
Production designer: Judy Becker
Music: Randall Poster, Jim Dunbar
Costume designer: John Dunn
Editor: Jay Rabinowitz
Cast:
Jack/Pastor John: Christian Bale
Jude: Cate Blanchett
Woody: Marcus Carl Franklin
Billy: Richard Gere
Robbie: Heath Ledger
Arthur: Ben Whishaw
Claire: Charlotte Gainsbourg
Allen Ginsberg: David Cross
Keenan Jones: Bruce Greenwood
Alice Fabian: Julianne Moore
Coco Rivington: Michelle Williams
MPAA rating R, running time 135 minutes...
Anne Feinsilber's evocative documentary Requiem for Billy the Kid, in the Camera d'Or section, is a treat for fans of western movies and anyone interested in myths of the Old West.
Narrated mostly by Kris Kristofferson, the film combines glorious images of present-day New Mexico, black-and-white photographs from the 1880s and clips from Sam Peckinpah's Pat Garrett and Billy the Kid as it attempts to solve one of the enduring legends of the dangerous land west of the Pecos.
History has it that Sheriff Pat Garrett, a reformed villain, gunned down William Bonney, also known as Billy the Kid, at Fort Sumner, where his grave has a much-visited marker. Some say, however, that the friendship between Garrett and Bonney led the lawman to let the outlaw go and another man's body lies beneath his headstone.
Could Billy the Kid have lived to see two world wars and driven a car? Feinsilber sets out to discover the truth and she finds several people in New Mexico whose grandparents were said to have known Bonney. Competing factions would like to exhume the bodies of Billy and his mother Catherine, who died of tuberculosis when Billy was 14, in order to prove once and for all when he died. Such myths fuel tourism, however, and the mystery has remained unsolved.
Billy's real name was Henry Antrim, but after his father died he became William Bonney and acquired his more famous moniker. Kristofferson's endearing growl makes his youthful features from the Peckinpah film all the more poignant as Billy's saga unfolds and they combine with Claire Diterzi's atmospheric music to give added resonance to a story well told.
Narrated mostly by Kris Kristofferson, the film combines glorious images of present-day New Mexico, black-and-white photographs from the 1880s and clips from Sam Peckinpah's Pat Garrett and Billy the Kid as it attempts to solve one of the enduring legends of the dangerous land west of the Pecos.
History has it that Sheriff Pat Garrett, a reformed villain, gunned down William Bonney, also known as Billy the Kid, at Fort Sumner, where his grave has a much-visited marker. Some say, however, that the friendship between Garrett and Bonney led the lawman to let the outlaw go and another man's body lies beneath his headstone.
Could Billy the Kid have lived to see two world wars and driven a car? Feinsilber sets out to discover the truth and she finds several people in New Mexico whose grandparents were said to have known Bonney. Competing factions would like to exhume the bodies of Billy and his mother Catherine, who died of tuberculosis when Billy was 14, in order to prove once and for all when he died. Such myths fuel tourism, however, and the mystery has remained unsolved.
Billy's real name was Henry Antrim, but after his father died he became William Bonney and acquired his more famous moniker. Kristofferson's endearing growl makes his youthful features from the Peckinpah film all the more poignant as Billy's saga unfolds and they combine with Claire Diterzi's atmospheric music to give added resonance to a story well told.
- 5/26/2006
- The Hollywood Reporter - Movie News
Anne Feinsilber's evocative documentary "Requiem for Billy the Kid", in the Camera d'Or section, is a treat for fans of western movies and anyone interested in myths of the Old West.
Narrated mostly by Kris Kristofferson, the film combines glorious images of present-day New Mexico, black-and-white photographs from the 1880s and clips from Sam Peckinpah's "Pat Garrett and Billy the Kid" as it attempts to solve one of the enduring legends of the dangerous land west of the Pecos.
History has it that Sheriff Pat Garrett, a reformed villain, gunned down William Bonney, also known as Billy the Kid, at Fort Sumner, where his grave has a much-visited marker. Some say, however, that the friendship between Garrett and Bonney led the lawman to let the outlaw go and another man's body lies beneath his headstone.
Could Billy the Kid have lived to see two world wars and driven a car? Feinsilber sets out to discover the truth and she finds several people in New Mexico whose grandparents were said to have known Bonney. Competing factions would like to exhume the bodies of Billy and his mother Catherine, who died of tuberculosis when Billy was 14, in order to prove once and for all when he died. Such myths fuel tourism, however, and the mystery has remained unsolved.
Billy's real name was Henry Antrim, but after his father died he became William Bonney and acquired his more famous moniker. Kristofferson's endearing growl makes his youthful features from the Peckinpah film all the more poignant as Billy's saga unfolds and they combine with Claire Diterzi's atmospheric music to give added resonance to a story well told.
Narrated mostly by Kris Kristofferson, the film combines glorious images of present-day New Mexico, black-and-white photographs from the 1880s and clips from Sam Peckinpah's "Pat Garrett and Billy the Kid" as it attempts to solve one of the enduring legends of the dangerous land west of the Pecos.
History has it that Sheriff Pat Garrett, a reformed villain, gunned down William Bonney, also known as Billy the Kid, at Fort Sumner, where his grave has a much-visited marker. Some say, however, that the friendship between Garrett and Bonney led the lawman to let the outlaw go and another man's body lies beneath his headstone.
Could Billy the Kid have lived to see two world wars and driven a car? Feinsilber sets out to discover the truth and she finds several people in New Mexico whose grandparents were said to have known Bonney. Competing factions would like to exhume the bodies of Billy and his mother Catherine, who died of tuberculosis when Billy was 14, in order to prove once and for all when he died. Such myths fuel tourism, however, and the mystery has remained unsolved.
Billy's real name was Henry Antrim, but after his father died he became William Bonney and acquired his more famous moniker. Kristofferson's endearing growl makes his youthful features from the Peckinpah film all the more poignant as Billy's saga unfolds and they combine with Claire Diterzi's atmospheric music to give added resonance to a story well told.
- 5/26/2006
- The Hollywood Reporter - Movie News
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