At Cambridge in the early 1970s, as a counterpart to my studies of Chinese culture (here, and here) and WAM, movies also made an important part of my education. At some remove from the arthouse European films that were all the rage was the outlaw movie
Despite mixed reviews, the film soon became a huge hit. Besides Paul Newman and Robert Redford in the title roles, Katherine Ross appears as Etta Place, following her part in The graduate. She went on to star in the sequel Wanted: the Sundance woman (1976). And Hill used the Newman–Redford partnership again with The sting (1973), with a Scott Joplin soundtrack.
The soundtrack for Butch Cassidy and the Sundance kid (playlist) is by Burt Bacharach, whom I revere eternally for I say a little prayer. Robert Redford was not impressed by Raindrops keep falling on my head, sung by B.J. Thomas (“What the hell is that song doing in this film?”)—despite its wonderful major 7th leap:
A scene that undermines the pomposity of soundtracks in traditional Westerns is South American getaway, with the Ron Hicklin singers in fine form:
The disembodied audio is here, so as to focus on the musical artistry of the alternating zany and nostalgic passages, and that major 7th leap again (0.28, 3.18). They might have come up with more imaginative instrumental bridges, but hey. And this is clearly not the time for ethnographic study of musicking in Bolivia…
Another scene that remains with me is “Can I move?”:
which somehow for me evoked Kyūzō in Seven samurai (rather than anything in the remake The magnificent seven), and now even reminds me of the importance of context in folk musicking…