“The Black Stallion” (1979) begins in an emerging environment clearly.
Pottery stallion is subject to a harsh unacceptable agreement. A boy watches the stallion and gives him the sugar cube, and his friendship immediately rose.
This setting is 1946 and the young Alack Ramsey (Kelly Renault) travels on the ship with his father (Hoyton), which we meet in the poker. Alec’s father dazzles his son with a story BucephalusAlexander the Great Horse.
In the middle of the night, Alec and his father wake up to the ship that burns during a huge storm. While the ship drowns, Alec is able to release the stallion. The next morning, Alec finds himself alone on an abandoned island.
The only comrade is stallion.
There is a purity for this type of visual stories. The amazing cinematic filming of Caleb Deshanel, the documentary Ballaard approach, and generous shows of actors create a film free of ridicule or satisfying crowds.
The victories of the characters won strongly and the inner life of each of the boy is complicated. The boy carries the Bucephalus statue as the tattoo that represents his inner strength and his lack of the father’s personality.
Renault has affectionate eyes and never gives enforced and gentle performance. We believe in the anguish and sadness that you hold. Akson, the late country singer who turned into a personal actor, is very loved (the role of the inventor/father who was playing later in “Gremlins”) appears.
The first piece of work of a terrifying boat drowning. There are almost no music, only the screaming boat sounds, and the waves that start and scream people.
The density contradicts, as people go everywhere, a man who tries to steal the survival jacket in Alec and fights you to save the stallion. This sequence is the reason why I could not get a full HBO examination for “The Black Stallion” in my youth, but I was able to embrace it as an adult.
The second verb like “Cast Away” (2000), with the exception of Alec has no advantage. It takes wisely the story to prove that rescue and survival is not inevitable.
The interconnection between the boy and his means is a way to kill time and search for food, but not a guaranteed introduction to salvation.
Adult confrontations are often harsh. The exception is his mother (Terry Jar), ​​especially Henry Daily, the horse coach played by Mickey Rooney.
A welcome presence was underway to bring different energy from the rest of the movie. It is a suitable touch because her personality is outside the central story.
She has two wonderful viewers – the little and ideal thing, as she thanks the stallion for saving her son and giving her a blanket, and her great scene with Renault, where Alec and his mother understand each other.
The latter is treated beautifully.
This was the first famous return projects for Rooney, a film and theater with a nine -year profession. It dominates the second and third acting of the film.
Simply, Ronnie is great. The scene in which Daleyy uses a pile of straw to teach you to you how to ride a horse at a fast speed is the best moment of representation in his career.
As a film for a child or children who raise an animal, it does not improve this. It will be ridiculous, but I will call it “The Black Stallion” “Citizen Kane” for equestrian films.
This is exactly what it is.
Ballard has a feeling of patient discovery, it does not remind me of a sense of satisfaction with “National Velvet” (1944), but a real adventure movie like “Walkabout” (1971).
Ballaard is sweet but never cute. It is exciting without manipulating or waiver. There are no vulgar reaction footage, and no jokes about horse droppings and are better than any Disney animal drama (yes, even “Old Yeller”).
Later, Ballaard “Never Cry Wolf” (1983), “Wind” (1992) and “Fly Awaya Home” (1996), all work amazing and brave about immersing themselves in nature.
In the years that followed “The Black Stallion”, everything from “Seabiscuit” (2003) has arrived “Dreamer” (2005) and “Amana” (2010). Everything may be sad and good production, but they did not approach or bypass the “black stallion”.
The only movie that deserves to be discussed in particular is “The Black Stallion Returns” (1983), directed by Robert Dalva, the prominent editor of “Raising Cain” (1992), “Jumanji” (1995) and “Captain America: The First Avenger” ( 2011).
He also edited “The Black Stallion” and “RTURNS” is the only movie that he ever directed.
The sequel begins approximately, as the stallion has been stolen, and Garr makes the shortcomings of the veil and you are outside Morocco to save the horse.
Since the first and second chapter is Alex traveling through the desert in search of his friend, most of the film is a slow literal career. Once he reaches the third chapter, two elements rescue the movie.
One is the magic magic result of George DelroThe other is the great end. It is a very extensive horse racing, it’s almost enough to make the audience forget how much they write over it in the first hour.
I will conclude with one of my favorite stories about the “Black Stallion” product, Francis Ford Coppola, which was told that it is true, but the voices are made up.
Coppola will share all movie makers in his Zoetrop Studio in the stage of watching the newspapers of each other (assembling the released shots from a day of filming).
Dailies assembly in Coppola came first, and it was brutally: it was a “Apocalypse Now” platform (1979), with full lines, a helicopter missing its fingerprint, and the director heard screaming, “cut!”
After that, Delia Bald was filmed by “Black Stallion”. On the huge screen, Renault was running beside the stallion, barefoot on the beach, shattering the waves, while the rainbow was drawing the sky.
Coppola suddenly stood in the theater and asked Bald, “How did you do that?!” Bald made it clear that light rain had happened, and he knew that the rainbow was likely to be formed if they were lucky. “How did you do that?!”
Even the director of the “godfather” was surprised.
