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The Black Stallion (1979)

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 ... See full summary »

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Writers:

(screenplay), (screenplay) | 2 more credits »

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Nominated for 2 Oscars. Another 7 wins & 4 nominations. See more awards »
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Inspired by the novels of Walter Farley. After being shipwrecked on a remote desert island, courageous, young Alec Ramsay and a wild Arabian stallion named the "Black," form an irrevocable ... See full summary »

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Cast

Cast overview, first billed only:
...
...
...
...
...
Michael Higgins ...
Ed McNamara ...
Doghmi Larbi ...
Arab (as Dogmi Larbi)
John Burton ...
Jockey #1
John Buchanan ...
Jockey #2
Kristen Vigard ...
Becky
Fausto Tozzi ...
Rescue Captain
John Karlsen ...
Archeologist (as John Karlson)
Leopoldo Trieste ...
Priest
Frank Cousins ...
African Chieftain
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Storyline

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

Plot Summary | Plot Synopsis


Certificate:

G | See all certifications »

Parents Guide:

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Details

Official Sites:

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Country:

Language:

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Release Date:

17 October 1979 (USA)  »

Also Known As:

El corcel negro  »

Box Office

Budget:

$2,700,000 (estimated)
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Company Credits

Production Co:

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Technical Specs

Runtime:

Sound Mix:

(70 mm prints)| (35 mm prints)

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

The movie, at a cost of $4.5 million, took two years to complete, with shooting also done at various locations in the U.S. Kelly Reno, whose only trips outside Colorado had been to North Dakota and California, was chaperoned by his parents while visiting the widespread locations. Despite their presence, he became homesick and later noted that, "In Rome, I'd have paid $10,000 for a McDonald's hamburger. You never know how much you want that if after a week all you get is spaghetti. And I had me a little wine, but after a week, I started drinking cokes again." See more »

Goofs

When Alec first befriends the Black on the beach using dried seaweed, he runs away from the Black so the Black will chase him, and in alternating scenes during the chase he is sometimes carrying a handful of seaweed and sometimes not carrying any. See more »

Quotes

[first lines]
Alec Ramsey: Dad... you know what I saw? It's the most fantastic thing... come look!
Mr. Ramsey: [to the other poker players] My son.
Mr. Ramsey: Hey! Look, son, I'll tell you, I'm really busy, but... I'll tell you what I do need. I need some good luck.
See more »

Connections

Featured in 100 Years at the Movies (1994) See more »

Frequently Asked Questions

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User Reviews

 
Much more than a children's movie...
2 December 2004 | by (Brooklyn, New York) – See all my reviews

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 horse.

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 amaze you.


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