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The Black Stallion
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The Black Stallion (1979) More at IMDbPro »

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The Black Stallion -- Teri Garr and Mickey Rooney star in this heartwarming adventure about a boy who forges a special friendship with a wild stallion after both are shipwrecked on a deserted island.


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7.4/10   7,795 votes »
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Up 33% in popularity this week. See why on IMDbPro.
Melissa Mathison (screenplay) &
Jeanne Rosenberg (screenplay) ...
View company contact information for The Black Stallion on IMDbPro.
Release Date:
17 October 1979 (USA) See more »
While traveling with his father, young Alec becomes fascinated by a mysterious Arabian stallion who... See more » | Full synopsis »
Plot Keywords:
Nominated for 2 Oscars. Another 7 wins & 4 nominations See more »
User Reviews:
A beautiful film about solitude, interdependence, survival, and achievement. See more (87 total) »


  (in credits order) (verified as complete)

Kelly Reno ... Alec Ramsey

Mickey Rooney ... Henry Dailey

Teri Garr ... Alec's Mother

Clarence Muse ... Snoe

Hoyt Axton ... Alec's Father
Michael Higgins ... Neville
Ed McNamara ... Jake
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
Donald Hodson ... Taurog (as Don Hudson)
Marne Maitland ... Drake Captain
Tom Dahlgren ... Veterinarian
Cass-Olé ... The Black Stallion
Junior ... Additional Horse
Star ... Additional Horse
Fae-Jur ... Additional Horse
Olympic ... Additional Horse
Rex ... Additional Horse
rest of cast listed alphabetically:
Daniel Henning ... Danny (uncredited)

Directed by
Carroll Ballard 
Writing credits
Melissa Mathison (screenplay) &
Jeanne Rosenberg (screenplay) and
William D. Wittliff (screenplay)

Walter Farley (novel)

Walter Murch  uncredited

Produced by
Francis Ford Coppola .... executive producer
Fred Roos .... producer
Tom Sternberg .... producer
Original Music by
Carmine Coppola 
Cinematography by
Caleb Deschanel (director of photography)
Film Editing by
Robert Dalva 
Art Direction by
Aurelio Crugnola 
Earl G. Preston  (as Earl Preston)
Production Management
Ted Holliday .... production manager
Ned Kopp .... production manager: additional photography, Oregon
Alessandro von Norman .... production manager (as Alessandro von Normann)
Second Unit Director or Assistant Director
Doug Claybourne .... assistant director
David Earl .... second assistant director: Canada
Jim Kaufman .... second assistant director: Canada
Robert McCart .... second assistant director: Canada (as Bob McCart)
Art Department
Maria-Teresa Barbasso .... assistant art director
Robert Blackgoat .... storyboard artist
Kevin Hughes .... assistant property master
Sound Department
Todd Boekelheide .... sound editor
Richard Burrow .... sound editor
Rick Kline .... sound re-recording mixer
Ann Kroeber .... sound effects recordist
Steve Maslow .... sound re-recording mixer
Bob Minkler .... sound re-recording mixer
Luciano Muratori .... boom operator: Italy
Primiano Muratori .... sound engineer in Italy
John Nutt .... dialogue editor
Diana Pellegrini .... sound editor
Alan Splet .... supervising sound editor
Stephen Stept .... sound editor
Elliot Tyson .... foley mixer
Bill Varney .... sound re-recording mixer
Barbara McBane .... assistant sound editor (uncredited)
Duncan McEwan .... sound recordist (uncredited)
John Roesch .... foley artist (uncredited)
Donald C. Rogers .... technical director of sound (uncredited)
Carlo Guici .... stunt trainer: Italian Unit
Sergio Mioni .... stunts
Glenn Randall Jr. .... stunt coordinator (as Glenn 'J.R.' Randall)
Jesse Wayne .... stunt double: Mickey Rooney
Roark Wearing .... stunt double: Kelly Reno
Camera and Electrical Department
Eraldo Barbona .... grip
Stephen H. Burum .... photographer: second unit
Robert Dalva .... additional photographer
Allan Gornick Jr. .... underwater cinematographer
Casting Department
Stuart Aikins .... casting: Canada
Vic Ramos .... casting: USA
Clare Walker .... casting: Canada
Editorial Department
Todd Boekelheide .... associate editor
Nancy Jencks .... assistant editor
Diana Pellegrini .... associate editor
Music Department
Daniel Allan Carlin .... music editor (as Dan Carlin Jr.)
Daniel Allan Carlin .... music supervisor (as Dan Carlin Jr.)
Jeff Carson .... music editor
Shirley Walker .... composer: additional music
Dan Wallin .... score mixer
Bob Badami .... assistant music editor (uncredited)
Other crew
Jerry Brown .... wrangler
Bill Corcoran .... location manager: Canada
Rory Enke .... location scout
Tim Farley .... production assistant
Deborah Fine .... assistant to producer
Karen Frerichs .... tutor
Jack Fritz .... executive assistant
Colin Michael Kitchens .... production assistant
Shelly McKinney .... wrangler
Bruce Moriarty .... wrangler
Sherry Nisewaner .... assistant to producer
Valerie O'Conor .... consultant: horse sounds (as Valerie Koutnik)
Valerie O'Conor .... production assistant (as Valerie Koutnik)
Rex Peterson .... wrangler
Glenn H. Randall Sr. .... wrangler (as Glenn Randall Sr.)
Bruce Randall .... wrangler
Corky Randall .... horse trainer
Liz Randol .... staff (as Liza Randol)
Bud Reno .... wrangler
Frank Simeone .... additional crew
Michael Uslan .... production attorney (as Michael E. Uslan)
Gene Walker .... wrangler
Bruce Moriarty .... trainer (uncredited)

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
118 min
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
70 mm 6-Track (70 mm prints) | Dolby (35 mm prints)

Did You Know?

The Black was portrayed by a champion Arabian stallion from Texas named Cass-Ole; his friend, the old white horse named Napoleon, was portrayed by Junior - who had previously appeared in National Lampoon's Animal House (1978) as Trooper, Neidermeyer's horse.See more »
Continuity: Cyclone, the gray racehorse, changes from a soft pale gray, to a dappled gray, to a very dark gray with a white tail throughout the match race.See more »
[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 »
Movie Connections:
Referenced in "Southland: Heat (#5.2)" (2013)See more »


How did production keep the cobra from striking Alec or The Black?
Where did Alec learn to make fire?
What did the stallion's owner say to Alec in Arabic?
See more »
10 out of 12 people found the following review useful.
A beautiful film about solitude, interdependence, survival, and achievement., 2 September 2000
Author: Invariable Self from Canada

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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