An aging Pat Garrett is hired as a lawman on behalf of a group of wealthy New Mexico cattle barons--his sole purpose being to bring down his old friend Billy the Kid.
Like Ford's The Man Who Shot Liberty Valance, it both records and condemns the passage of time and the advent of progress; and there is a sombre, mournful quality which places the film very high up in the league of great Westerns.
Pat Garrett and Billy the kid suggest either that he (Peckinpah) has begun to take talk about his genius too seriously (it can happen to the best) or that he has fallen in with bad company.