Michael Bliss’s essay explores the mythic and Christian aspects of The Wild Bunch, paying particular attention to what he considers its key sequences: the scenes in Angel’s village and those that follow the shootout there. Drawing on the criticism of Northrop Frye and Flannery O’Connor, Bliss argues that in light of the film’s use of violence as a metaphor as well as its radically conceived multiple endings, which result in the Bunch being first apotheosized and then absorbed into nature, The Wild Bunch qualifies as a religious work of art.
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