Comparison between the Theatrical Version on the German Plaion Pictures Blu-ray set, also available on Disc 1 of The Criterion Collection's US 4K UHD /Blu-ray and the Final Preview Version on the German Plaion Pictures Blu-ray set, also available on Disc 2 of The Criterion Collection's US 4K/Blu-ray set


136 changes, including 27 alternative storylines, 9 re-ordered scenes and 4 audio changes
* 127 additional items of material in the Final Preview version, with a duration of 26:46 min
* 36 additional items of material in the theatrical cut, with a duration of 10:57 min 

Production history of Sam Peckinpah's PAT GARRETT & BILLY THE KID

In 1956, Charles Neiders wrote The Authentic Death of Hendry Jones and adapted the life story of Billy the Kid. Sam Peckinpah used this as the basis for a screenplay at the end of the 1950s, which was used at least in part in Marlon Brando's One-Eyed Jacks. So when MGM was planning a film version of the material at the beginning of the 70s, Peckinpah was very familiar with it and was happy to tackle a realization according to his ideas.

The casting of Kris Kristofferson as Billy dragged on and both the budget and shooting days were cut by the studio. Bob Dylan was actually only supposed to refine the score a little, but in the end he took over the entire soundtrack (in addition to a smaller role in the film) after arguments with Jerry Fielding, who was initially responsible for it. Peckinpah is said not to have been entirely satisfied with Dylan's input. Sam was also in the middle of a divorce at the time and his alcoholism was getting out of hand. It is more or less clear from various statements made by his collaborators at the time that the number of really productive daily hours spent working on Pat Garrett & Billy the Kid was significantly lower than on his other masterpieces. No doubt one or two of Peckinpah's personal experiences also flowed into last-minute changes to Rudy Wurlitzer's screenplay, which gave Garrett's character a more melancholy touch. MGM president James Aubrey also increased the pressure and Roger Spottiswoode, among others, was asked to complete the final cut in less than two months.

In May 1973, Peckinpah was able to present a "preview version", which MGM clearly rejected. As a result, the film was literally snatched from him and there was a legal dispute over the theatrical release in July 1973. The reviews were not exactly sympathetic and there was an unexpected, apparently happy ending in 1988 when a preview version was shown on Turner Classic Movies (TCM) in the USA. Misleadingly, this was also sometimes marketed as a "directors cut", although Peckinpah was never able to have a final say in the editing room, as described. It was released on laserdisc and also as a bonus on the 2-disc DVD Special Edition in 2005. The main film on this release was another version reconstructed by film restorer Paul Seydor, which set its own priorities compared to both the theatrical version and the Turner preview version and is referred to as the "Special Edition".

The 4K premiere has been available in the USA from The Criterion Collection since July 2, 2024 and there are three versions to choose from. In addition to a new scan of the theatrical version (which has not been released since VHS times), the "50th Anniversary Edition" as the main version of the release is virtually a further development of Seydor's 2005 Special Edition.

In addition, a new final preview version can be admired on a bonus disc, unfortunately unrestored and in rather mixed quality. Editing-wise, it is very close to the Turner preview version, but has a few more deviations of its own. As we learn in the highly recommended documentary "Passion & Poetry: Peckinpah's Last Western" by Peckinpah uber-fan Mike Siegel in the bonus material, this cut was stolen from MGM's screening room by Peckinpah's close confidant Chalo Gonzalez, whereupon Sam kept it privately hidden under the title "The Racquet Club". A real sensation, so to speak, about which Gonzalez, who sadly passed away in 2020, also speaks out himself in the documentary.

German Blu-ray set by Plaion Pictures with 4 remastered versions

On Disc 1 you will find the theatrical version and the 50th Anniversary Cut. In terms of image quality, there are no surprises here, as Criterion's good restorations are used. For German viewers the audio options are interesting, as the theatrical cut now features the complete theatrical dub for the first time since VHS. Since this was previously added to the 2005 special edition on DVD, there were some original German dubbed scenes for scenes that were previously missing, while at the same time the original dubbing (e.g. for the scene with Ruthie Lee) was dropped because the material was removed from the theatrical version. Furthermore, for the 50th Anniversary Cut, the theatrical original dub was used as the basis and supplemented with the second dub created by German broadcaster ZDF for the Preview Cut. So the majority of the film is now available in German.

Disc 2 contains not only the Final Preview Cut known from Criterion, but also the Turner Preview Cut preferred by many fans, as it was known from the old bonus DVD. The highlight: both film versions were reconstructed by the two new 4K restorations and the material exclusive to each version was color-corrected to match each other surprisingly well. Thus, although not a uniform new scan, but qualitatively really much nicer to look at than the somewhat carelessly offered version from Criterion. In addition, in contrast to the bonus DVD, which is only offered in English original language, the complete ZDF dub is now also available. This is how labels should release movies with such a complicated history in different versions. And of course, the English original audio track as well as complete English and German subtitles are also included.

The bonus material also includes an “Extended Brothel Scene”. Curiously, every version of the film offered exclusive material. Unfortunately, the 4K-restored 50th Anniversary Cut was a longer piece shorter than the 2005 Special Edition, and the preview cuts again included other scene parts or removed them. In any case, here it is for the first time in almost completely HD with only a few SD inserts from the 2005 version, the longest possible reconstruction or combination of all versions of the film. In view of the truly curious circumstances surrounding the release of this film, it's a nice gimmick to see what a kind of “Ultimate Final Cut” might look like.

Last but not least, the bonus material contains additional scenes from the US TV version, which is also new compared to the Criterion version. This film was also heavily censored at the time, but at the same time additional scenes were added to fill up the runtime. While some of them were then included in the preview and Seydor cuts, two scenes and a few short moments remained exclusively in these old full-screen versions. A 22-minute featurette shows what there was to discover.

Overview of the main releases and all versions

From the history just described, the following main versions and some further details of the corresponding releases can be summarized:

1. Turner Preview - 122 min (Theatrical / NTSC speed or 118 min PAL)
An unfinalized cut delivered by Peckinpah shortly before release, which has been in circulation since 1988. Based on surviving notes, many consider it to be at least the closest to a "director's cut". After releases on VHS and laserdisc, it was also placed on Disc 2 of e.g. the German/American DVD. Reconstructed in remastered form on the German Blu-ray by Plaion Pictures.

1a) UK Turner Preview - 121 min or 117 min PAL
In the UK, a few BBFC censor cuts (report) were necessary for the DVD release.

2. Final preview - 121 min (Theatrical / NTSC speed) - comparison of the two preview cuts
Also not final, but at a later stage than #1 a slightly refined cut version by Peckinpah. Allegedly stolen from the MGM archives by Peckinpah confidants and first presented on the Criterion Blu-ray/4K UHD released in 2024 in the USA. Reconstructed in remastered form on the German Blu-ray by Plaion Pictures.

3. Theatrical version - 105 min (Theatrical / NTSC speed)
Trimmed by a few scenes compared to the preview version (against Peckinpah's will), but at the same time equipped with a little additional material. This version was virtually no longer available after VHS evaluations. It is included again as a new scan on the 2024 US Blu-ray/4K UHD and the 2025 DE Blu-ray from Plaion Pictures.

4. US TV version - 105 min (cinema/NTSC speed)
As with so many films, there were heavily censored TV versions in America, but leftover plot scenes were added to “fill in” the runtime. Not much was known about this until now, but Plaion Pictures has actually been able to track down the material and present it in a 22-minute featurette. Predominantly, two further scenes are shown here, which are exclusive to all other versions, and a few short moments are longer.

5. 2005 Seydor Special Editon - 116 min (Theatrical / NTSC-Speed or 111 min PAL)
Reconstructed on the basis of Peckinpah's notes and in part apparently also simply his own editing decisions. This has since become a standard version, so to speak. Main film on Disc 1 of various DVD releases.

5a) UK Special Edition - 115 min or 110 min PAL
This version of the film was also slightly censored for the UK release (analogous to #1a) due to the BBFC.

6. 50th Anniversary Edition - 117 min - comparison of the 50th AE vs 2005 SE
A modification of the 2005 reconstruction, more or less refined by Seydor and editor Spottiswoode, with further new adaptations (see screenshot of the description in the booklet as an appendix). It combines various editing decisions from previous editions. Presented for the first time on the 2024 Blu-ray/4K UHD from Criterion in the USA and the 2025 DE Blu-ray from Plaion Pictures.
 

The differences between the Theatical Cut and the Final Preview Version

In fact, the changes made to the theatrical cut were by far the most extensive. Unsurprisingly, a large part of these are typical trimming measures: small scenes are shortened here and there. What was annoying for many fans was that some nice little one-liners were also left out as a result. In general, it can be seen that Peckinpah probably intended the film to be at least a bit more humorous - and at the same time more thoughtful. So there are also many quiet scenes here in which not so much happens and you can rather see more character traits in little moments. It is also interesting that several scenes with or comments about John Chisum were removed. Apparently, they wanted to reduce some complexity in the plot for the theatrical version. Partly as a result of this, there are also several re-ordered scenes, particularly in the second half of the film, and scenes have been arranged in a completely different order.

What is particularly noticeable from our point of view is that the theatrical version also has some censorship in the form of violence, audio adjustments, and less nudity. There are several additional bullet wounds to be discovered here, and only some of them were reintroduced in the 2005 Special Edition (as well as in the 50th Anniversary Cut, which was based on it). On the audio track, you'll notice that the bad F-word was replaced at one point. In general, however, some dialogues aremissing here or have been re-recorded - and pieces of music by Bob Dylan have been replaced several times. At least the latter was of course not censorship, but among fans it is a kind of question of faith whether you can or can't hear “Knockin' on Heaven's Door” with lyrics during Sheriff Cullen's death scene. The brothel scene, on the other hand, was almost removed completely...

Either way, it is an impressive piece of film history, even in the theatrical cut, which is interesting for providing insights into creative differences.