Sam Peckinpah (1925-1984) Amerikan savaş sonrası sinemasının en aykırı ve sonraki nesilleri etkileyen yönetmenlerinden birisidir. Stüdyo sistemi içinden gelmesine rağmen eline geçen her fırsatta söz konusu sistemin sınırları dışında filmler çekmeye çalışmış ve başarabildikleri ile kendine has bir çeşit alt-tür yaratmayı ve imzasını silinmeyecek şekilde atmasını bilmiştir. Kendi ifadesi ile ‘en bağımsız’ filmi olan Bana Onun Kellesini Getirin (1974) yönetmenin belki de en çok eleştirilen ve değeri en geç anlaşılan filmi olma özelliği taşımaktadır. Genel olarak ‘yol filmi’ kapsamında ele alınmamış, daha çok bir ‘intikam’ ya da ‘kaçıp kovalamaca soslu macera’ filmleri kategorilerinde değerlendirilmiştir. Oysa bir ‘kült’ film olmasının dı- şında bu yapım birçok alt metin okumalarının yapılabileceği, o tarihe kadar çekilmiş olan tipik yol filmlerinden ana kahramanı ve konusu itibariyle ciddi biçimde ayrılan ama bir taraftan da söz konusu türün özelliklerini kullanmayı ihmal etmeden tam manasıyla yol filmi olabilmeyi becermiş bir çalışmadır da. Bu makale filmi ait olduğu bu tür çerçevesinde detaylı bir şekilde irdelemeyi ve söz konusu türün özelliklerinin anlatıya nasıl yedirildiğini göstermeyi amaçlamaktadır.
Sam Peckinpah (1925-1984) is one of the most influential and controversial film makers of the post World War II American cinema. Even though he achieved fame through studio system, Peckinpah used every opportunity to make movies outside the boundaries of Hollywood industry and by doing so created a style and genre of its own. Bring me the Head of Alfredo Garcia (1974) is, in his own words, was the most personal and independent film he had ever managed to produce without the restrictions imposed on him by any movie giants located in Los Angeles. It is also probably the least understood and heavily criticized Peckinpah movie, more than his other well known shockers like Straw Dogs or The Wild Bunch. This particular movie is not usually analyzed within the road movie genre but rather examined within the context of ‘revenge and adventure’ flicks. Yet, despite being a ‘cult’ movie, it is rather a curious example of a road movie which does not contain usual types and characters of the genre but still functions as one with its multiple sub-texts. This article will try to analyze this movie strictly within the road movie genre and also try to single out those characteristics which are embedded into its structure.
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