‘Black Stallion’ Remains the ‘Citizen Kane’ of Equestrian Films

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Carroll Ballard’s “The Black Stallion” (1979) begins in a distinctly grown-up environment.

In this story, the main horse, affectionately called “the titular stallion,” is kept an eye on by harsh, indifferent caretakers. However, a young boy observes the stallion, and their bond quickly forms when the boy offers him a sugar cube.

1946 finds young Alec Ramsey (Kelly Reno) embarking on a voyage accompanied by his father (Hoyt Axton). As they sail, we encounter the father engrossed in a game of poker. To captivate his son’s curiosity, he recounts the mesmerizing story of Bucephalus, the steed that belonged to Alexander the Great.

During the dead of night, amidst a ferocious storm, Alec and his father were roused as their ship caught fire. As the vessel succumbed to the sea, Alec managed to set the stallion free. The following dawn discovered Alec stranded on an uninhabited island.

The only other companion is the stallion.

This form of visual narrative carries an unadulterated essence. Caleb Deschanel’s breathtaking camerawork, Ballard’s observant documentary style, and the heartfelt acting from the cast result in a movie that is untainted by skepticism or simple audience manipulation.

The triumphs of the characters are earned through difficulty, and both the boy and his horse possess intricate emotional depth. The boy uses a statue of Bucephalus as a talisman symbolizing his inner resilience and the absence of a paternal influence in his life.

Reno possesses deep, expressive eyes and delivers genuine, unforced performances. We can sense the pain and sorrow that Alec portrays convincingly. Axton, the country singer turned character actor who has passed away, is incredibly endearing in this role, hinting at his later roles as the inventor/father in “Gremlins”.

In the initial scene, the heart-pounding spectacle of the shipwreck is truly chilling. The atmosphere is largely silent, broken only by the ominous groans of the sinking vessel, the rhythmic slapping of waves against it, and the haunting cries of terrified passengers.

The scene’s intensity was startling, with people running and shouting everywhere, a man attempting to grab Alec’s life jacket, while Alec fought to protect the horse. As a child, I could never finish watching “The Black Stallion” on HBO due to this intense sequence, but as an adult, I found myself able to appreciate it.

In the second act, we find similarities with the movie “Cast Away” (2000). However, unlike the character from that film, Alec finds himself in a situation without any initial advantages. The narrative carefully builds up to convey that neither rescue nor survival can be taken for granted.

The friendship formed between the boy and his horse serves as a pastime and a way to find sustenance, yet it does not automatically guarantee redemption.

Alec frequently comes across adults who can be harsh, but there are exceptions – notably his mother (Teri Garr) and Henry Dailey, portrayed by Mickey Rooney as the kind-hearted horse trainer.

Garry’s arrival felt refreshing, offering an unique vibe that distinguished him from other characters within the movie. This suits his role perfectly, since it subtly hints at his peripheral involvement in the main narrative.

She possesses two captivating moments: the heartwarming instance when she acknowledges gratitude towards the horse for rescuing her son by offering it a blanket, and her impactful encounter with Reno, in which Alec and his mother ultimately comprehend each other.

The latter is beautifully handled.

In this instance, we could rephrase as follows: “This project marked the initial return to stardom for Rooney, an actor who has graced both the big screen and the stage for nearly a century. He takes center stage in the movie during its later acts.

To put it simply, Rooney is outstanding. The instance where Daily employs a mound of straw to instruct Alec on how to gallop a horse swiftly could well be the peak acting accomplishment in his career.

There’s nothing quite as heartwarming as a movie where kids nurture and look after animals, and “The Black Stallion” is simply the top-tier choice in that genre. To put it humorously, you could say it’s the “Citizen Kane” of horse movies.

That’s exactly what it is.

Ballard’s movie embodies a thoughtful exploration, evoking in me not the familiar charm of “National Velvet” (1944), but rather the genuine thrill of an authentic adventure akin to “Walkabout” (1971).

Ballard’s movie possesses a charming yet uncanny quality. It’s thrilling in an authentic way, avoiding the appearance of manipulation or condescension. There are no overly sentimental moments, no humor based on farmyard humor, and it surpasses any Disney animal-themed drama, including the classic “Old Yeller.

Later on, Ballard created the films “Never Cry Wolf” (1983), “The Wind” (1992), and “Fly Away Home” (1996). These captivating and raw productions explored the lives of individuals deeply connected with nature.

In the years following, Ballard produced “Never Cry Wolf” (1983), “The Wind” (1992), and “Fly Away Home” (1996). These remarkable movies delved into the lives of people who became one with nature.

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Following this, Ballard released “Never Cry Wolf” (1983), “The Wind” (1992), and “Fly Away Home” (1996). These impressive films depicted individuals fully engrossed in the natural world.

Since the release of “The Black Stallion”, movies like “Seabiscuit” (2003), “Dreamer” (2005) and “Secretariat” (2010) have been produced. While these films are touching and well-made, none have managed to match or exceed the greatness of “The Black Stallion.

One movie worthy of conversation is “The Black Stallion Returns” (1983), which was skillfully directed by Robert Dalva, a talented film editor known for movies like “Raising Cain” (1992), “Jumanji” (1995) and “Captain America: The First Avenger” (2011).

He also edited “The Black Stallion,” and “Returns” is the only film he ever directed.

In the next chapter, things don’t go smoothly. A thief steals the stallion, there’s a fleeting glimpse of Garr, and Alex embarks on a journey to Morocco to recover the horse.

In the initial two acts, Alec embarks on a journey across the desert to find his friend, making most of the movie feel like a long, deliberate trek. However, during the third act, two key aspects nearly rescue the film from its slow pace.

1. Option A: The enchanting, mystical music by Georges Delerue, combined with the climactic horse race, creates an exhilarating spectacle of immense proportions that could overshadow the somewhat excessive writing and lackluster moments in the initial part.

2. Option B: The spellbinding score by Georges Delerue and the epic horse race are the highlights, offering a thrilling experience on a grand scale. Despite some overwriting and underwhelming scenes earlier, these sequences are so captivating that they can distract viewers from those issues.

Let me wrap up by sharing a captivating tale, supposedly true yet seeming fantastical, about the renowned “The Black Stallion” producer, Francis Ford Coppola.

At Coppola’s Zoetrope studio, filmmakers were encouraged to collectively use a shared cinema to view one another’s daily footage from the sets.

Initially, Coppola compiled raw footage, which was quite intense. It consisted of scenes from “Apocalypse Now” (1979) that included mispronounced lines, a helicopter that missed its target, and the director shouting, “Cut! Cut!

After that, I found myself immersed in Ballard’s daily filming logs for “The Black Stallion.” On the grand screen, there was Reno, galloping side by side with his stallion, barefooted on the sandy beach as the ocean roared and a rainbow arched over the heavens.

In the theater, Coppola abruptly rose from his seat and inquired of Ballard, “What on earth just happened here?!” Ballard modestly responded, “Oh, it appears a light shower passed through earlier, and I had a hunch a rainbow might appear if we were fortunate.” Once more, Coppola asked, “How on earth DID you MAKE that happen?!

Even the director of “The Godfather” was astonished.

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2025-02-02 19:04