"Thunderhead," a roving, big white stallion, causes problems for the Wyoming ranchers when he leads their blue-blooded racing mares off to join his wild horse herd in the mountains. ...
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Ken McLaughlin struggles to please his family in any way. He comes back from boarding school boasting poor grades and facing going through the fifth grade again, much to his fathers dismay.... See full summary »
Harold D. Schuster
"Thunderhead," a roving, big white stallion, causes problems for the Wyoming ranchers when he leads their blue-blooded racing mares off to join his wild horse herd in the mountains. Escaping gunfire, he runs off one night with a young rancher;s mare, a possible winner of the Governor's Stake trotting race. The mare is recaptured and entered in the race against the horse owned by the father of the young rancher's sweetheart, and this puts a damper on their romance. Written by
Les Adams <firstname.lastname@example.org>
Sorry to say they just don't make 'em like this any more. Fine horse story back when animal pictures were popular in the late 40's. Beautifully photographed in Technicolor, the movie's a real eye-catcher, along with a fine screenplay and cast. I simply can't believe that it's the same Peggy Cummins (Carey) that the following year would terrorize the screen as the psycho-sexual Annie Laurie Starr in the noir classic Gun Crazy(1949). Here she's the perfect rural ingénue, sweet, innocent, and supportive, while she and Arthur (Ken) make an engaging young couple. Still, the contrast with Gun Crazy remains an incredible transition.
Speaking of grabbers, the magnificent horseflesh of Thunderhead and Crown Jewel should get animal Oscars for their fine performances. Okay, at least their trainers should. Then too, when the two are together, the color contrast between white-white and black-black is a real grabber. The story blends in nicely as the two families try to settle their differences through a mutual admiration for race horses (trotters or pacers, I'm not sure which). For an over-weight old guy, Coburn does well in a physically active part, while the ending seems particularly appropriate. Add the tuneful interludes of Burl Ives, and you've got perfect family fare, even for the urbanized 21st century.
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