Sam Peckinpah’s TV play, Noon Wine, based on the short novel by Katherine Anne Porter, occupies a legendary position in his oeuvre, because it turned his career around when he was at a low ebb, making everything afterwards possible (although it’s THE WILD BUNCH which created his unstoppable momentum in the next decade), and also because it’s been almost impossible to see.
After being shut out of the editing room on the troubled MAJOR DUNDEE (Charlton Heston wondered why Orson Welles and Sam Peckinpah, so charming to their actors when they wanted to be, could not turn that charm on the moneymen; Peckinpah wrote to his producer, “You are a well-poisoner, Jerry, and I damn you for it”), and after being fired from THE CINCINATTI KID after allegations that he tried to shoot hardcore pornography on the MGM lot (screenwriter Terry Southern claimed, plausibly, that it was his idea of adding an interracial love scene that freaked out the suits; but see also Susan George’s allegations about Peckinpah’s initial plans for the rape scene in STRAW DOGS, which tends to support suspicions about the director’s enthusiasm for what might be termed “sexual realism”) — anyhow, after all that, nobody was willing to touch Peckinpah.
This low-budget TV play demonstrated that Peckinpah could be trusted to turn up, shoot to schedule, and get great reviews. What’s weird is how shonky Noon Wine is. Admittedly, the source material screened at Edinburgh International Film Festival, supplied by UCLA, may not have shown the film at it’s best — though this may be the best surviving material. It looks to have been shot on tape, filmed off a TV screen, and then dumped back onto digital, but it’s hard to be sure. The colour is streaky, the image sometimes displaying a tubular edge distortion, and the resolution is low, and there’s also the unpleasantly smooth, HOBBIT-like video movement, though one soon gets used to that.
The piece is obviously cheap as chips, with laughable production design in the courtroom scene — blank stage flats painted in streaks to try to add a spurious sense of detail. But much low-budget TV still impresses, due to story and acting and framing. Noon Wine is erratic in all of these aspects.
Technically, the piece is below the standard of most TV of the period, with music unconvincingly papering over gaps in the soundtrack where Peckinpah seems to have shot mute. The only visual sequences which don’t look flatly televisual are the frequent montages, layerings of lap dissolves to show time passing. Generally, whenever Peckinpah mucks about with lap dissolves, wipes, freeze frames, ripple dissolves or accelerated motion, I cringe. These examples aren’t outright offensive, but they get a little embarrassing sometimes.
Olivia DeHavilland is good, naturally. Jason Robards SHOUTS all the time, just like Steve Martin in THE JERK. Per Oscarsson is outstanding. Whenever I see him, I always think, Who is this strange man, where did he come from and what’s he doing here? I even saw him in a Swedish film, DR GLAS, and thought the same thing. So he’s perfect to play what the script calls “a stranger in a strange land.” Theodore Bikel essays a range of characterful tics including a Magoo chortle, and seems to have strayed in from another, more amusing but far worse film.
The story seems predicated upon an ambiguous event (an unseen axe murder) like the Marabar Caves in A Passage to India, but Peckinpah struggles to make the unclear clear. His use of monologues, internal monologues, expository dialogue and more montages is frequently awkward. I realized that Peckinpah’s movies are almost never solo writing jobs, though his work on The Rifleman and The Westerner on TV showed he could get the job done OK when he had to. But he never had to solve all the narrative problems of a feature script without help.
It feels almost ungrateful to get a rare chance to see something like this projected, and not like it better. But that leaves the enduring mystery of how Peckinpah’s career got rebooted by a tiny TV play that isn’t very good. The most interesting thing about it, to me, was that the film, so little seen but so significant in its repercussions for Peckinpah, is like the offscreen murder itself — it is responsible for everything that happens afterwards, but in itself it is unknowable, unseeable and impossible to understand.
I was just thinking, “Now all we need is Nick Ray’s The High Green Wall” — and then I thought to check YouTube and here it is! Hope it’s good.