Production
In May 1971, weeks after completing Straw Dogs in England, Sam Peckinpah returned to the United States to begin immediate work on Junior Bonner. The lyrical screenplay by Jeb Rosebrook, depicting the changing times of society and binding family ties, appealed to Peckinpah's tastes. He accepted the project, concerned with being typed as a director of violent action (at the time, The Wild Bunch was his most renowned film and Straw Dogs was in preparation to be released to theaters). Junior Bonner would be his final attempt to make a low-key, dramatic work in the vein of Noon Wine (1966) and The Ballad of Cable Hogue (1970).
Filmed on location in Prescott, Arizona, Peckinpah utilized many colorful locales and residents as extras in the movie. Due to a glut of rodeo-themed films released at that time, including The Honkers (1972), J.W. Coop (1972) and When the Legends Die (1972), Junior Bonner fell through the cracks and performed poorly at the box office. The film was unwisely promoted as a typical Steve McQueen action vehicle and critical reviews were mixed. Peckinpah would remark, "I made a film where nobody got shot and nobody went to see it." Stinging from the failure of Junior Bonner but eager to work with Peckinpah again, McQueen presented him Walter Hill's screenplay to The Getaway, which they would film months after completing Junior Bonner. The second collaboration proved to be a financially successful one, as the action film would become one of the biggest box office successes of their careers.
Read more about this topic: Junior Bonner
Famous quotes containing the word production:
“In the production of the necessaries of life Nature is ready enough to assist man.”
—Henry David Thoreau (1817–1862)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
“The production of obscurity in Paris compares to the production of motor cars in Detroit in the great period of American industry.”
—Ernest Gellner (b. 1925)