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||IMDB Rating: 7.4/10 from 12 votes
||Release: 17 July 1980 (Netherlands) /
||Genre: Adventure, Family, Sport
||Stars: Clarence Muse, Doghmi Larbi, Ed McNamara, Fausto Tozzi, Frank Cousins, Hoyt Axton, John Buchanan, John Burton, John Karlsen, Kelly Reno, Kristen Vigard, Leopoldo Trieste, Michael Higgins, Mickey Rooney, Teri Garr
||Synopsis: While traveling with his father, young Alec becomes fascinated by a mysterious Arabian stallion who is brought on board and stabled in the ship he is sailing on. When it tragically sinks both he and the horse survive only to be stranded on a desert island. He befriends it, so when finally rescued, both return to his home where they soon meet Henry Dailey, a once-successful trainer. Together they begin training the stallion to race against the fastest horses in the world. Written by Anonymous
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This film is offered as children's fare. That does not matter to me. It
succeeds as an professionally presented film for adults.
I am in no position to bellyache about how little it resembles Walter
Farley's children's book. I have read some of the book. The book does
not interest me.
Neither does its set-up for whatever sequels interest me. They were, by
most accounts, mediocre.
This film, "The Black Stallion", holds a great deal more for me than
most other pictures.
The film is one of the most powerfully beautiful sets of moving images
I have ever seen on screen conjoined with sumptuous music and gently
mesmerizing performances. Its editing awards, cinematography awards,
and the awards for its music all were well deserved.
From the wreckage of the "Drake" through the lengthy bonding of boy and
horse on the island, through to their rescue, not a word is spoken. It
is one of the longest, most intensely cast verbal negative spaces in
film. Civilization is dispensed with, language is removed, layers of
meaning are stripped; there is no intellectual comfort on which to fall
back. Into that emptiness fall the sound of waves and wind and rain as
though natural extensions of Carmine Coppola's exquisite score. The
film's soundtrack is wonderfully uncomplicated and moving. The island
sequences are visited by small groups of instruments in turn -- a harp
here, primitive percussion there, minimal woodwinds; no brass intrudes
for a long time -- in musical experiments of loneliness yielding to
companionship that echo the tentative meetings of the boy and the
Such negative spaces abound in "The Black Stallion", carved from the
soundtrack (the roar and crush of sound in the midst of the final race
sequence blur out into a blissful, quiet emptiness touched lightly by
flute and brass), washed clean of visuals (for the bulk of one critical
scene, horse and boy, the centers of attention, disappear, literally,
and focus is on the tiniest details of ticking watch hands and empty
sheets of translucent night rain), and opened at great lengths in the
dialogue: Alec's mother responds to her son's plea with a tortured
delay and Teri Garr, in remarkable performance, draws out her strangely
active non-speech for many long seconds before her two-word reply
closes this particular negative space with the thunderclap of a rushing
locomotive and the thrust of a guitar as the soundtrack slams back in.
The final burst of joy from the island sequence's soundtrack is so
magnificent, so full and compelling, it is odd to listen, carefully, to
its hesitant introduction as the horse finally permits the boy to
mount: small flicks at the harp joined by a reed or two before the
tympani knock insistently to tell us something miraculous has happened.
And we need that wake up call: We have to come up for air. Our vantage
point for Alec's first ride begins *under water*. We see only six legs
and, then, much boiling and thrashing in a scene that is as intimate
and anticipatory as only the best love scenes ever filmed. And this
*is* a love scene, in every sense. The charging aerial streamings and
broad panning shots that follow the boy and the horse and the forces of
nature, the sand and ocean through which they tear, convey as deep a
physicality as in any love scene.
This film, with its powerful sensory immersion, offers much about love
and tenderness and touch and connectedness to an audience inclined to
forget that most motive force in life comes through the union of
dissimilar entities and the experience of sex is, at its fullest, not
just about bodies conjoined: it's also about longing and belonging and
trust and completion though union with one's chosen and preferred. "The
Black Stallion", G rating and all, is one of the most powerfully sexy
films ever made. It offers every amended glory possible in any sexual
relationship that proceeds past involvement of 'the plumbing'.
In both illustration and disclosure of why this film means so much to
me, I might as well mention I was 38 the last time I watched this
movie, my first viewing of it in many years. The young lady with me had
never heard of it. When, at its end, she turned to hot, liquid sunshine
in my arms, weeping in amazement, not fully understanding why she'd
been so moved, we began a romance that has refused easy definition ever
since -- but I cannot imagine a stronger bond. The magic of this film
perfectly mirrored the best possible feelings within us. A kid's movie?
Sure, if you say so.
This is a wonderful film. It will not push or drag you. But watch --
and listen -- closely and let it take you where it can and it will
Tags for The Black Stallion Full Movie
, Doghmi Larbi
, Ed McNamara
, Fausto Tozzi
, Frank Cousins
, Hoyt Axton
, John Buchanan
, John Burton
, John Karlsen
, Kelly Reno
, Kristen Vigard
, Leopoldo Trieste
, Michael Higgins
, Mickey Rooney
, Teri Garr
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