Romansa konjokradice

It's hard to make a judgment on a film that you might want to say is far better than it appears. But the DVD I saw of Romance Of A Horsethief had the most horrible sound quality, one of the worst I ever heard with a film that had some justifiable reasons to consider it good. I must have missed any number of witticisms that came from Joseph and David Opatoshu, the father and son original creators of the work.

The same rueful acceptance, the same cynicism that characterized Fiddler On The Roof without the joyous music is found in Romance Of A Horsethief. It's 1904 and the Czarist armies are needing cavalry horses for the upcoming war with Japan which ironically enough turned out to be a naval war. So it's not like the American west where the cavalry actually bought and paid for mounts and cavalry horses became the fulcrum of many a western good and bad. No, in an absolute monarchy the Czar merely requisitions what he needs from the peasants be they Christian or Jew. Stealing from both you would think might get them to thinking we have a common enemy, but that fact takes a long time in realization.

Yul Brynner is the Cossack commander sent to the Russian part of occupied Poland whose job it is to run that part of Poland and get the Czar's horses. Eli Wallach is the amiable horse-thief whose profession has found a new status of honor he never expected in his life. He becomes a revolutionary in spite of himself.

Romance Of A Horsethief almost could have been a musical, there are places some numbers could have been dropped. Best in the cast is Lainie Kazan who makes quite the fool of Brynner the occupier. Who could resist Lainie's twin weapons of mass destruction?

A really bad sound quality keeps this last work of Abraham Polonsky from being a classic.

Like most any film set in a past period, the very least that can said about this is that the costume design and production design are both outstanding. Filming in Yugoslavia, and especially in outlying rural areas, clearly allowed for the greater appearance of a time and place well removed from Europe circa 1970, and the crew behind the scenes turned in fantastic work. It's also very noteworthy that the picture boasts quite the esteemed cast, with Yul Brynner, Eli Wallach, Jane Birkin, and Serge Gainsbourg, among still others, sharing the screen in turn. I can't speak directly to Joseph Opatoshu's novel but his son David penned a screenplay that ably stirs together wisps of period history, clashing cultures and ideas, romance, drama, and perhaps a tinge of adventure, and light humor. Dashes of cleverness pepper the length in the dialogue and scene writing, and the cast sure seems to be having a good time. In one capacity or another there's much to like about 'Romance of a horsethief.'

The problem is that when it comes to its storytelling the feature is much less sure-footed than in its fundamental craftsmanship. There's some cleverness here, and some strong scene writing, as the tale unfolds of a conflict in a small town between the imperialist officer who rules over it and the citizenry, including an underground economy of horse thieves and a young idealistic woman who returns home with big ideas. The strength of even the scene writing is highly variable, however; it's better in some instances than others at discretely communicating the plot. The plot itself, as it presents, and in turn the movie at large, rather comes across as the cinematic equivalent of someone without confidence singing a song by memory - loud and robust at best, but often only mumbling their way through some lines or whole verses and just going through the motions in the hope that that will be enough to carry the day. The same on-again-off-again, wishy-washy dubiousness comes across in Abraham Polonsky's direction as much as Opatoshu's screenplay, and even in some of the sequencing effected by editor Kevin Connor. The end result is a title that trusts in a handful of bold, broad brushstrokes to provide definition and the subsequent entertainment.

I admire Piero Portalupi's cinematography, though in some cases it feels a bit overly excitable. Maybe it reflects on the copy I was able to watch more than the film itself, but it really seems like the sound design is terribly imbalanced. The cast are generally pretty terrific, but with the material and Polonsky's direction both being questionable at times, the acting sometimes suffers in turn. Those stunts that are employed, at least, are as reliable as the work of the crew behind the scenes, especially when it comes to the horse riding, and any effects that we see look good. I don't think 'Romance of a horsethief' is bad; it's passably enjoyable. It would be much more enjoyable if a more careful, mindful hand had been exercised across the board, in the writing most specifically but in other regards just as surely. As it stands, when a scene crops up that did receive all due consideration and treatment from conjuration to execution - including the climax, and the last ten minutes or so broadly - then like audio that ranges from a nearly inaudible whisper to blaring tinniness that threatens to blow out speakers and ear drums, those high points seem to come out of nowhere, are unfavorably jolting, and come off worse for the fact of it.

I think this is most recommendable for those who are big fans of the folks involved. For anyone else, I guess it's a mildly suitable way to pass a quiet afternoon. Don't go out of your way for it, though, and be well aware of its deficiencies. So long as you can abide the unevenness and flaws, 'Romance of a horsethief' isn't a bad way to spend 100 minutes.

A little knowledge of Polish history makes this movie a lot more meaningful, and abandon any idea that it is romantic in the way we think of the word today. Those caveats aside, this is a neglected film from 1971 that holds up quite well. The hyper-masculine Yul Brynner is the star in every sense, swaggering his way through as the Cossack who has been put in charge of the Polish town of Mlawa. Meanwhile the Jewish residents of a nearby shtetl plot and scheme to steal horses and defy the Russian authorities. A Polish gentleman of the upper class wants to marry his daughter off to a French dandy, while she falls for one of the Jewish horsethieves. Mind you, this is a time when Poland had been wiped off the map, and the Germans and the Russians were vying for their piece of the country. Favorite scene: Yul Brynner in a brothel drinking champagne and then chewing up the glass. Favorite line: "Polish peasants can't read, and the Jewish peasants won't."

Eli Wallach steals horses from the army's herds. The army steals horses from everyone else. David Opatoshu sells horses he knows he doesn't have so his sister can have a dowry and make a good marriage; and hot revolutionary Jane Birkin wears a white lace dress to a secret meeting in a muddy field -- I suppose the servants will clean it. This movie doesn't seem to me a story so much as a slice of life, and its contradictory absurdities less funny than the sort of disorganized thinking that comes with the Us-Against-Them mentality, reflected in the set design and trying to sneak a stolen horse out of a brothel by having Lainie Kazan expose her decolletage to Yul Brynner.

This absurd and old-fashioned comedy about Cossacks and Jews might have been a minor success played by the Yiddisher Bund in Warsaw in 1935 (my grandfather's second wife would have had fun in the Lainie Kazan role), or on 2nd Avenue in New York. By 1971, if the audience wanted to see something about Jews in Tsarist Russia, they could see FIDDLER ON THE ROOF, which was a lot more approachable.

In circa 1904 Polish Russia, the Czar has tasked Cossack Captain Stoloff (Yul Brynner) with requisitioning all of the horses he can for use in the Russo-Japanese War. This puts him at odds with a local group of Jewish peasants, led by Kifke (Eli Wallach), who trade in stolen horses. Brash young horse thief Zanvill (Oliver Tobias) is the most accomplished of the lot, and while that makes him a target for Stoloff, it doesn't help when Zanvill begins a romance with local noblewoman Naomi (Jane Birkin), just returned from France with revolutionary ideals.

This was scripted by David Opatoshu, and based on a novel by his father, a famous Yiddish writer. Opatoshu should be familiar to anyone who watched any television from the 1960's. This movie plays like a mash-up of two other 1971 releases, Fiddler on the Roof and Nicholas & Alexandra, and lacquered in a Tom Jones veneer. Oliver Tobias is the lead (he gets an "introducing" credit), and he was a noted theater star in Great Britain at the time. Both he and Birkin get overshadowed when any of their more notable co-stars are on screen, and the cast is unusual. Brynner and Wallach get to relive their Magnificent Seven days, while Lainie Kazan and Serge Gainsbourg seem dropped in from another planet.