Lealdade

The first part of this movie, about the birth and rearing of "Tommy Boy", is pretty good, if a tad sentimental. Ernest Torrence does his usual excellent job. In the second half, Tommy Boy leaves the farm and falls in with bad companions, and the whole thing degenerates into into bad soap opera. The camerawork is erratic: the shots in the field were apparently shot MOS and look pretty good, but the second half becomes stage bound.

A very realistic film about Kentucky thoroughbred raising and racing that includes a large number of black characters including featured players. John Larkin is great as is the direction in general. Madge Evans is truly beautiful. The plot ending is ingenious. It's a keeper if you've taped it off of TCM. A piece of cinema history, I think.

I recently caught this film on TCM during their celebration of Clark Gable as "Star of the Month" and was pleasantly surprised at how much I enjoyed it. Good behind the scenes racing story, with the added attraction of a very young Clark Gable in his first top-billed role. Yes, the story is sentimental, but exceedingly well done, with excellent performances by all. But the best surprise of all is the treatment of the African American characters in the film. Considering the time period, all of the African Americans are treated as intelligent, thinking HUMAN beings, not as shuffling minstrel show caricatures. Why isn't this film better known? Catch it when you have the chance. Highly recommended!

Gable's gangster laden character career before "It Happened..." continues in this saga about a race horse looking for respect from a succession of owners mishandling its career. Clark may have the lead in the film but a fine supporting cast including the horse Tommy Boy run neck and neck throughout.

Horse breeder Jim Rellence (Ernest Torrence) is forced to shoot his prize mare Southern Queen but not before she gives birth to Tommy Boy who develops the right stuff in no time. Reluctantly he sells the horse whose new owner succumbs to dollar signs and the whims of a dilettante. Lacking horse sense and ignoring trainers advice Tommy Boy is run into the ground before being rescued by a moll (Madge Evans)left to her by a recently whacked boyfriend gambler who over estimates Tommy's abilities. She returns to Rellence's farm to get Tommy as well as herself back in shape.

Sporting Blood moves at a decent pace as it moves from owner to owner, first with the touching and warm affection of a restrained Torrance at the farm followed by a series of inept meretricious owners to Evan's Ruby who finds her own redemption in bringing Tommy Boy to the Derby. Marie Provost and Hallam Cooley provide comic relief while black actors Gene Jackson and John Larkin lend dignity instead of wide eyed Tomming to their roles in playing key contributions to the plot. Gable is self assured and imposing but Evans handles him well throughout while Tommy Boy's big heart adds to the crowded field in a suspenseful well edited finale that has Sporting Blood finishing in the money.

This is the first movie I have seen about horses that understands horses. It also understands, better than most, the ties that grow between the people that work with horses and their charges. The stable hands and breeder roles are developed. Indeed, the stable hands are all black and (for the time) are shown with a range of emotions, humanity, and (shockingly) as having families.

Furthermore the horses are represented as having community among themselves, communicating among themselves, and even caring about the fates of other horses. Add to this the remarkable and touching scenes between the stable hands (notably John Larkin and Eugene Jackson)and the horses throughout the film. The breeder is also notably tender hearted.

The starring roles and plot are well handled. Gable appears late in the film, but commands attention. The female lead is played with backbone and heart. The plot moves swiftly, but not at the expense of creating empathy with the situations at hand. I look forward to exploring further films directed by Charles Brabin.