L'Étalon noir

I watched this movie tonight for the first time in 15 years and was surprised to realize it could bring tears to my eyes after such a long time - grown up, adult tears. The TV copy was bad with a noisy soundtrack and cloudy images but the beauty of its cinematography seems to be stronger than time, amazingly new and powerful. The island scenes are pure poetry... so delicate is Carroll Ballard's way of catching the rising love between boy and horse - love shining out from innocence. Music is sublime, touching like the most poignant and fragile themes from Erik Satie's.

Many interpretations can be given to "The Black Stallion". To me -who saw it again after losing a friend in tragic circumstances- it is a beautiful and hopeful tale about death. Alec meets the Black -figure of death, wild and unpredictable- the night of his father's passing away and the world falls apart -the boat sinks into flames and cold water. The Black saves Alec, waking up then on a pale morning, alone on a lonely island made of black stone, translucent waters and white, dry sand. Then begins mutual taming between wild animal and young boy. How long will they observe each other, how long does it take for the Black to run gently besides Alec and for Alec to stand by the Black's tall silhouette? It feels like a few hours in this timeless land, but it could be a lifetime.

Then fear is gone, so are individuals - are they not one, running in suspended waters between sky and dust? Desire exists no longer... what do they want, but each other? If the horse is Death then Death is a friend, Death is peace and love and the abolition of time. And dreams are real just like the Black is real against Alec's hands, while in Alec's hands is clutched the unmoving and lifeless figure of a black horse given by his father on the night of his death.

Suddenly comes back the world of men, and horse and boy return to Life, witch is limits and rules and time. Yet when death has been tamed and accepted, frontiers don't matter anymore, and Alec makes peacefully his way into the world, growing along with the beautiful friendship connecting him to his horse. Together, horse and boy, they will prove that boundaries can be broken between man and animal, between dreams and reality.

Moving.

It is hard for many people to accept that a little family film about a boy's relationship to a horse could be one of the greatest films ever made. But you must remember that not so long after The Black Stallion was released another film was made that was about a boy's relationship with a creature from another planet. That film is widely considered a masterpiece and its director has gone to become the most successful director in film history. I think it is worth noting that both films were written by the same person. Melissa Mathison, who wrote both E.T. and The Black Stallion, has penned two great films about a boys love friendship with a non human creature. And after several viewings of both I'm beginning to think that Stallion may be the better of the two. I doubt that I have ever seen a more atmospheric and emotional movie that holds up so well after repeat viewings. And I must say the sparse dialog is probably my favorite thing about it. Little is said but much is felt and isn't the feeling what is most important? This film has a beautiful look to it, which may have something to do with the director, Carol Ballard's, experience as a cinematographer. The wonderful images and rich detail draw you into the film and say more than words ever could. Great performances by everyone in the cast also boost this movie to the next level. Is The Black Stallion better than E.T.? I cannot say but it certainly feels that way. If you want to see a movie that is pure feeling than you should see this one.

For nearly the first hour, not more than a few pages of dialogue are spoken. Yet the camera is able to tell a complicated narrative as well as evoke powerful emotions with nothing but pure visuals. The scenes that establish the emotional relationship between the 10 year old protagonist and his equestrian soul-mate not only move the story along, but provide us with some of the most stunning visuals I have ever seen on film. It recalls the powerful visuals of films like 2001: A SPACE ODYSSEY and NANOOK OF THE NORTH.

Then there is the mind-boggling riding stunts, if they are stunts that leaves one staring in wonder at what the young actor is doing right before our eyes. As far as I could tell, and it was the consensus of everyone who saw this film with me, there were no trick shots and no stunt doubles. The camera is too close and it is obvious that what we are seeing is real. Without giving much more than that away (because these sequences really need to unfold before you with no foreknowledge), it is enough to say that the first half of the film could stand alone as a complete work. Coupled with Carmine Coppola's exquisite score that matches every subtle turn of feeling with every scene, the picture is a joy to behold. A sequence with choreographed movement underwater is nothing short of an incredible ballet. How this film did not wind up on every one of those silly "top 100 films of all time" lists, I cannot fathom. How it did not win a multitude of Academy Awards is a mystery. Caleb Deschanel's cinematography is simply breathtaking.

The second half is no less a pleasure, but as the studios are wont to dictate, a story in the age of MTV and LETHAL WEAPON 16 cannot remain subtle and esoteric -- it can't be simply about the powerful bond between friends, boy and horse, man and boy....trust between creatures beyond words and definitions. So there is conflict, action and a race; the tension that makes for exciting storytelling, yet the rich emotional texture that is achieved even without these more mundane fixtures still dominate the work. And I must add, those more spiritual qualities surprisingly are not diminished by the action sequences but remain the dominant elements of the film's power-of-the-whole. And where there is dialogue, much to director Ballard's credit, it is kept sparse, it's not strained but is quite believable. Even Mikey Rooney, who could have been any director's worst nightmare, turns out a touching performance.

This is a film that marries every element perfectly -- from the music to the photography to the precision editing to an improbable performance from such a young actor. The loudest kudos must go to the young Kelly Reno who turns out a performance that rivets you from the first scene to the last with its power and simplicity.

This is not just a good film -- this is a masterpiece; it's what cinema is all about. And of course the only way to see it is in a theatre on a large theatre screen, NOT on a 19in TV set. Even DVD is more like a xerox copy compared to the definition that a 35mm print provides. If there is an art cinema near you, go to the director and plead with him/her to book this gem. Bring your kids or your nieces and nephews -- the younger generation needs to see what real film-making is all about. And powerful statements about trust and friendship and personal strength wouldn't hurt them either.

I re-viewed the movie, on video, after not having seen it for many years. The cinematography is fantastic, and I believe it won an Oscar - and deservedly so. The lovely score fills in a script of few words. Even Mickey Rooney, who's had his ups and downs in his acting career, gives a wonderful performance as the former jockey who trains Alec. Treat your kids to a showing of this great film, then give them the book to read...

This movie is a feast for the eyes with an ending that has you on the edge of your seat. It is really two movies in one. The first movie is all about a boy and a horse shipwreaked on an island and how they learn to survive by helping each other. The second movie is about how Alex saves the horse and gives it a purpose in the world with the help of Mickey Rooney. The photography and story are very strong and help make this movie a visual delight with a minimum of dialog. Isn't that what movies are all about?