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They Shoot Horses, Don't They? (1969)

M  -  Drama  -  13 August 1970 (Argentina)
7.9
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The lives of a disparate group of contestants intertwine in an inhumanely grueling dance marathon.

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Title: They Shoot Horses, Don't They? (1969)

They Shoot Horses, Don't They? (1969) on IMDb 7.9/10

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Won 1 Oscar. Another 10 wins & 21 nominations. See more awards »

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Cast

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Robert Fields ...
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Shirl
Madge Kennedy ...
Jacquelyn Hyde ...
Felice Orlandi ...
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Storyline

Gloria is a young woman of the Depression. She has aged beyond her years and feels her life is hopeless, having been cheated and betrayed many times in her past. While recovering from a suicide attempt, she gets the idea from a movie magazine to head for Hollywood to make it as an actress. Robert is a desperate Hollywood citizen trying to become a director, never doubting that he'll make it. Robert and Gloria meet and decide to enter a dance marathon, one of the crazes of the thirties. The grueling dancing takes its toll on Gloria's already weakened spirit, and she tells Robert that she'd be better off dead, that her life is hopeless - all the while acting cruelly and bitterly, alienating those around her, trying to convince him to shoot her and put her out of her misery. After all, they shoot horses, don't they? Written by alfiehitchie

Plot Summary | Add Synopsis

Taglines:

People are the ultimate spectacle

Genres:

Drama

Certificate:

M | See all certifications »

Parents Guide:

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Release Date:

13 August 1970 (Argentina)  »

Also Known As:

El baile interminable  »

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(original) | (current)

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Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Screenwriter James Poe planned to make his directing debut with this film, seeing it as a low-budget movie without stars. He had planned to use Shirley Knight as Gloria, Lionel Stander as Rocky, Allen Jenkins as Sailor and his own wife Barbara Steele in another role. The deal fell through, the film became much more expensive, Poe's script was rewritten (and, he claimed, softened) and stars were cast in the leading roles - some of them former clients of ex-agent Martin Baum, who was involved in producing the film. See more »

Goofs

The film is supposed to take place in 1932. However, during the opening sequence posters for the films Varsity Show and Off the Record can be seen outside the ballroom on the pier. See more »

Quotes

Robert: Suppose we did win? What would you do with it?
Gloria Beatty: What, what, what?
Robert: The money.
Gloria Beatty: Maybe I'd buy some good rat poison.
See more »

Connections

Featured in The Cyclist (1987) See more »

Soundtracks

I Found a Million Dollar Baby (in a Five and Ten Cent Store)
(1931) (uncredited)
Music by Harry Warren
Played at the Dance Marathon
See more »

Frequently Asked Questions

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User Reviews

A memorable, tragic story with roots in reality
21 November 2002 | by (Washington, DC) – See all my reviews

"They Shoot Horses, Don't They?" is such a fascinating film that it made worthwhile a little research into the dance marathon craze of the 1920s and early 1930s. According to the DVD extra, the set was modeled on the old Aragon Ballroom, built in the 1920s on the Lick Pier at Santa Monica, California. The once-elegant ballroom had grown seedy by the early 1950s, at which time it enjoyed a brief revival as the location of early Lawrence Welk show broadcasts. In the 1960s, the Aragon was again revamped under a different name as a short-lived rock concert venue - with appearances by Alice Cooper (is his pre-Cooper days) and Jim Morrison of the Doors. It was destroyed by fire shortly afterward.

Marathon dancing was, according to most historians, as brutal and exploitive as it is depicted in "Horses." It was for that reason that this early 20th century variety of Roman coliseum culture was banned in much of the country by the late 1930s.

This movie uses fictitious characters to tell a story that appears to be remarkably accurate from a historical point of view. Jane Fonda's ultra-cynical, sharp-tongued character, Gloria, along with ruthless manager/promoter Rocky (played by Gig Young), contrast perfectly with the eerily-resigned and unpretentious Robert (Michael Serrazin). The casting and dialogue are brilliant. The visual effects are haunting.

This film is not for everyone. But for those interested in the social pathology that allows human suffering to become a form of amusement, the malicious ill-treatment of the poor, or the harsh realities of the depression era, this is multifaceted cinema that can be watched again and again, each time yielding new subtleties. It is a morbidly fascinating character study that reflects a truly desperate time.

For those watching on DVD, it is advisable to see the short background feature before the movie in order to fully appreciate its context. The movie is unforgettable, a true classic.


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