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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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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)
 »

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 main double was Fae Jur, the spirited horse from California that Carroll Ballard had once considered for the role of the Black. He is the horse in the memorable scene where Alec tempts the stallion with seaweed on the beach. Fae Jur's naturally independent nature made his approaches and retreats very believable. He loved fake-fighting and also was used in the sequences where the Black stamps on a cobra and where the high-strung stallion strikes out at another horse just before the big race. See more »

Goofs

When the horse is frightened by trash collectors, it is seen to run down a lane. There is a red sports car parked at the end. The car is an MG model TD, which was put into production either late in 1951, or early 1952. It looks period, but isn't. 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

Referenced in Adventures from the Book of Virtues: Moderation (2000) See more »

Frequently Asked Questions

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User Reviews

 
A beautiful film about solitude, interdependence, survival, and achievement.
2 September 2000 | by (Canada) – See all my reviews

The first thing that strikes you when you see "The Black Stallion" is its cinematography. However the vivid colours are only the doorway into the film. It is important to remember that the title is not "The Stallion" but "The Black Stallion". It is the title's first announcement of bold colour and the connotations of power in "Stallion" that introduce a richness of dichotomies. There is the black horse and the white boy (would the film really have been the same with the ubiquitous white horse?). There is the contrast between the horse's power and the boy's frailty. The scenes on the island and the scenes in the city. Indeed, the film's running time is almost split down the middle between this last contrast. There is also the contrast between the boy and the old man he befriends, and many others. But most importantly, there is the contrast between solitude and companionship. There are a lot of lonely characters in this film. Everyone from the horse to the boy, to the trainer to the boy's mother seem to be trying to struggle through life on their own. It is this quest to deal with loneliness that is the film's most profound achievement. It is not so much a condemnation of solitude as an analysis between its benefits compared to the benefits of companionship. Whether or not "The Black Stallion" answers these questions is something the viewer will have to decide for themselves. I believe the film asks more questions than it answers. Although some may find the film's ending a bit too predictable and sacharine tasting, the overall effect of the film's beauty and its questions concerning solitude and survival, erase any minor faults the movie may contain. Part "Androcles and the Lion" and part "National Velvet", "The Black Stallion" is more than a childrens' movie. It brings together the "blackness" (as in the black void of space) of loneliness with the stallion's individual power to show how all of us are alone in a fundamental way but that we also have an ability within us to not only survive but draw great things from it. We can fulfill through our particular skills and abilities the necessary requirement of helping each other without losing the strength we receive from our individual independence and uniqueness.


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