From a longtime fan who has seen all the films (and a good amount of the TV work), read all the Peckinpah histories, and met over the years with a number of his collaborators, friends, and relatives including a treasured chat with the director himself in 1981:
The only Peckinpah films that were NOT re-edited by either producers or studio executives are RIDE THE HIGH COUNTRY, THE BALLAD OF CABLE HOGUE, JUNIOR BONNER, and BRING ME THE HEAD OF ALFREDO GARCIA.
RIDE THE HIGH COUNTRY: Peckinpah was fired and barred from access to the MGM lot before the end of post-production. When the new studio chief declared it "the worst movie ever made" (right after having slept through half of the screening), Peckinpah offered to raise enough cash to buy the film outright from MGM and get it distributed elsewhere. That got Sam kicked out. This was before the final sound mix and the music were completed (he disliked the score); but Peckinpah's cut survived the storm as well as the test of time.
BALLAD OF CABLE HOGUE: Warner Bros. dumped this film onto the market with scandalously little promotion it has even been reported that they sabotaged their own release by screening an unfinished, unscored workprint for an exhibitors' screening but they did not otherwise change the picture.
JUNIOR BONNER: Released just as its director made it (even though all American homevideo editions have contained a different song during the opening titles than what was heard on film prints and the Japanese laser disc).
ALFREDO GARCIA: As has been discussed above, Peckinpah's contract here gave him his otherwise elusive final-cut rights. But as I cite above, it wasn't the only time his work was not tampered with.
Earlier in this thread someone stated that THE GETAWAY was not recut, but that is incorrect. It's known that Steve McQueen exercised (abused) some contractual rights by eliminating some of Al Lettieri's footage as well as replacing Jerry Fielding's initial score with different music from Quincy Jones.
The original-release versions of Peckinpah's THE WILD BUNCH, STRAW DOGS, and CROSS OF IRON have emerged over the years, as well as extended approximations of MAJOR DUNDEE and PAT GARRETT & BILLY THE KID. It's too bad that their creator was no longer around to enjoy that degree of vindication. But it's also no coincidence that his only four features which never got tampered with are also among his best work.
Most great films deserve a more appreciative audience than they get
.

It's downright tragic the way Peckinpah's films have been treated. I'd put him up there with Orson Welles in a list of great directors treated badly by the studio. Though Peckinpah did get to make his Citizen Kane, Bring Me The Head of Alfredo Garcia.
Funny you should say that, Charlton Heston worked with both (Welles for Touch of Evil, Sam for Dundee) and he wrote of the two men in his autobiography In the Arena: "Where Orson would charm the cast and crew, Sam would pick fights with the cast and fire the crew."

Actually a film is the Producer's project and responsibility (not to mention vision), and it's up to him (and his bosses if he's working through a studio) to get the film edited.
Although it is often done, it's not a given that a producer has to let the Director be heavily involved in the editing. Sometimes the director is only allowed to review and comment, others of course basically do the editing themselves (in company of an editor).
That would be true if this was 1930s Hollywood, but nowadays, the primacy of the director is pretty well accepted (even if Hollywood producers still go out of their way to undermine it). Even the most hands-on of today's producers - Jerry Bruckheimer, the Weinsteins, etc. - never "craft" the film as much as a David O. Selznick; they're usual content simply hiring company men whose "personal vision" is one-and-the-same with the studio's commercial concerns. Hollywood filmmakers, unfortunately, don't have the "Droits d'auteur" to the extent they do in other countries, but I don't think even the most fiscal studio-man would pretend that it isn't the director's job to "write" the film they just hold the they have the power to "rewrite" other people's work if its a question of profit.
And you're kidding if you think that this movie was anyone but Peckinpah's vision.

Actually a film is the Producer's project and responsibility (not to mention vision), and it's up to him (and his bosses if he's working through a studio) to get the film edited.
Although it is often done, it's not a given that a producer has to let the Director be heavily involved in the editing. Sometimes the director is only allowed to review and comment, others of course basically do the editing themselves (in company of an editor).

I agree with all of your comments on Pat Garrett except the last one. I don't see a chance of future efforts at re-editing as worth the trouble.
"You know what else isn't cool, Bobby?
Hell
."

YEAH!!!!

"Garcia" is possibly his best film.

'nough said.

"Garcia" is possibly his best film. These remarks of it being a lesser film is ridiculous. It's a standout if only for Warren Oates performance, one of the greatest ever given on film.
RE: "Major Dundee". I think the movies was always going to suffer if only for the fact that several key scene were left un-shot. And I purposely don't find the "art film" version of the movie any less commercial than the studio cut. Certainly, if
Wild Bunch
and
Straw Dogs
could be huge commercial hits,
Dundee
probably stood a better chance of succeeding had the studio just let Peckinpah release his version.
RE:
Pat Garrett
. I don't think either cut of the current film is satisfactory. The longer version may include a lot of key footage missing from the film, but the shorter cut feels a lot closer to an actual Peckinpah film in regards to the cutting and rhythm. The attempt on the current DVD to create a synthesis of the two cuts, in my opinion, wasn't successful, and someone really should take another shot at it.
Peckinpah's true genius was in the editing room. While these retroactive "restorations" may be important in giving us an idea of the narrative Peckinpah wanted to tell, they still only tell us half the story, since Peckinpah himself isn't there to construct the movie. Much like many of Welles butchered works, the films work infinitely better if you don't approach them as
his
film, but rather, as notes and fragments towards a finished film that is simply lost to time. And like Welles, its a sign of Peckinpah's genius that the movies still work this way.

Peckinpah's usual M.O. was shoot enormous amounts of film - turn in an overly-long Director's cut, then cry when Studio editors tried to turn it into a commercial film.
I like the restored, longer, Dundee but I can see why the Studio chopped it. They were trying to make a mainstream movie - not an art film. And "Pat Garrett" is a bad film that isn't any better in the long version.
Peckinpah had complete control over "Bring the Me the Head of Alfredo G" - that disaster should confirm that he wasn't some Genius brought down by the suits.

I think the complete director's cut of Dundee wouldn't be much more than a curios, to be honest. Peckinpah didn't have the project fully developed when he started shooting, and it's clear that he and screenwriters were by the end just making stuff up as they went along. Nor is it Bresler's fault the film was cut; the responsibility for that belongs to Columbia Studios.
Mr. Rusk. You're not wearing your tie!

I met Stella Stevens recently and found her fun to talk to. She said Cable Hogue was fun to work on. I said it and Junior Bonner were the only Peckinpah films I could get my wife to watchshe doesn't like westerns. She like working with Strother Martin and agreed Peckinpah could be an SOB because of his demons.

RIDE THE HIGH COUNTRY wasn't cut, but the producers inserted much (often unnecessary score) music without Peckinpah's agreement. Other than that, the film wasn't touched and its current version is Peckinpah's original cut.
THE BALLAD OF CABLE HOGUE wasn't cut or changed in any way.
JUNIOR BONNER is said to have been one of Sam's happiest directing jobs as there was no trouble with the producers at all, neither in as well as after production. MAYBE, it was recut slightly (could be), but overall, Peckinpah biographs seem to agree that it wasn't.
BRING ME THE HEAD OF ALFREDO GARCIA - see above.
I'm not sure about STRAW DOGS but I don't think, that one suffered from violation by producers either, as well as CROSS OF IRON which already isn't too fast paced (= commercial) in its uncut theatrical version.
The worst thing ever happened to Peckinpah surely was the mutilation of MAJOR DUNDEE (Jerry Bresler, may you burn in hell!). The best (and most unreal) thing which could happen to us today would be a restoration of Peckinpah's original 160 minute version.

The only cut I know of in "deadly companions" is at the end when Chill Wills shoots Steve Cochran. The cut makes it look like Brian Keith killed him. I could be wrong, but one of the biographies discusses this.
I remember seeing Jack Valenti at the AFI(DC) years ago in a special program where he discussed the rating system and the problems with it, showing clips from controversial films. He said if TWB hadn't been heavily cut, he would've given it an X for sheer violence.
Watching John Woo's THE KILLER for the first time was comparable to watching TWB. Woo had similar problems with his movies, and I was surprised he went back to Hollywood after HRD TARGET was butchered.
TWB looks mild compared to movies like HOSTEL and SAW which exist only to show how to torture people.

Movies I know where: The Deadly Companions, Major Dundee, The Wild Bunch, Pat Garrett and Billy the Kid, The Osterman Weekend.
I don't think he cared about The Killer Elite or Convoy, so maybe those were a matter of indifference. I'm not sure though.
I know Alfredo Garcia wasn't cut.
I don't think Ride the High Country or The Ballad of Cable Hogue were. I have no idea about the rest.

That is actually quite an interesting tidbit of infomration. I certainly recognize that Sam is a genius and would have liked him to have retained Final Cut on all of his films, I kinda found Alfredo Garcia to be one of his weaker films. The pacing of it just seems off to me. It is nowhere near the level of Ride the High COuntry, Wild BUnch, Straw Dogs, or even second tier Peckinpah efforts like Junior Bonner or Ballad of Cable Hogue. Ah well, that is just my two cents

sam's original european cut of CROSS OF IRON was also nearer to his completed vision along with BRING ME THE HEAD OF ALFREDO GARCIA.
"what do you think of him?"
"i think he's a beep peasant!"
see you at the movies baby

was there a peckinpah film NOT cut by the studio?
According to film critic Roger Ebert,
Bring Me the Head of Alfredo Garcia
was the only Peckinpah film that was not cut by the studio. Ebert claims that Pecinkpah said: "I did 'Alfredo Garcia' and I did it exactly the way I wanted to. Good or bad, like it or not, that was my film."
And, in actuality,
Ride the High Country
was cut by the studio a bit. Still a great film though.

Yes, by all means, buy it. It's well worth your while. Although I have certain reservations about aspects of the restoration (the new music score is a little overbearing, the night scenes are too dark, etc.), it's very good. The extra scenes help the narrative flow more smoothly.
I still think that the movie is flawed But the first two-thirds now demonstrate that this was very nearly a masterpiece. It just starts to unravel in the final third.

I don't believe Ride the High Country was cut by the studio, but I could be wrong.
I'm thinking of buying Major Dundee. The restored version is said to be quite impressive.
"Dry your eyes baby, it's out of character."

It's downright tragic the way Peckinpah's films have been treated. I'd put him up there with Orson Welles in a list of great directors treated badly by the studio. Though Peckinpah did get to make his Citizen Kane, Bring Me The Head of Alfredo Garcia.
What's the spanish for drunken bum?

It's the only work of his worth its salt in my opinion. One of my favourite movies of all time. Warren Oates' performance is one of the greatest ever filmed

And GARCIA, interestingly, is my least favorite of his works.
"So what else is on your mind besides 100 proof women, 90 proof whiskey, and 14 karat gold?"

BRING ME THE HEAD OF ALFREDO GARCIA is the only film Peckinpah retained final cut on, according to the audio commentary on the DVD release.

I think the Deadly Companions was actually taken away from Sam to a certain extent, which was before Major Dundee.
But as to the original question, I think The Getaway was not cut by the studio other than the musical score getting replaced. I'm not positive about his other movies though.
"Congratulations, Major. It appears that at last you have found yourself a real war." Ben Tyreen