“One of the first big-budget Westerns of the sound era, Billy the Kid was also an early experiment in widescreen, released in a special 70mm format called Realife. Although our print is standard 35mm, the scenic grandeur of King Vidor's direction is fully apparent, as are the peculiarities of composing for the larger format. There are superb panoramic shots and much action taken in long shot, but almost no close-ups. Few Hollywood Westerns have such an authentic look. Vidor photographed largely on the actual locations of the famous Lincoln County wars, and deliberately avoided the patented MGM gloss. The characters appear as drably dressed as they no doubt were, and the buildings and streets are convincingly run-down and dusty. William S. Hart worked as an advisor on the film, and coached John Mack Brown to give a plausible impersonation of an outlaw. However, Wallace Beery's performance as Garrett, the deputy who admires the Kid but who nonetheless tracks him implacably, remains the most impressive piece of acting in the film. The screenplay sticks close to the facts until the ending, which is absurdly happy. As an early talkie, there are some awkward passages and stilted continuity, with silent captions covering some transitions. But it remains an austerely powerful work.” Treasures from the Eastman House, PFA publication