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Spirit: Stallion of the Cimarron (2002)

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A wild stallion is captured by humans and slowly loses the will to resist training. Yet throughout his struggles for freedom, the stallion refuses to let go of the hope of one day returning home to his herd.

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,

Writers:

(screenplay by),
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Nominated for 1 Oscar. Another 10 wins & 21 nominations. See more awards »

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Cast

Complete credited cast:
...
Spirit (voice)
...
The Colonel (voice)
...
Little Creek (voice)
...
Sgt. Adams (voice)
...
Murphy / Railroad Foreman (voice)
John Rubano ...
Soldier (voice)
...
Bill (voice)
...
Joe (voice) (as Matthew Levin)
...
Pete (voice)
...
Jake (voice)
...
Roy (voice)
Meredith Wells ...
...
Little Creek's Friend (voice)
...
Little Creek's Friend (voice)
Donald Fullilove ...
Train Pull Foreman (voice) (as Don Fullilove)
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Storyline

A wild stallion is captured by humans and slowly loses the will to resist training. Yet throughout his struggles for freedom, the stallion refuses to let go of the hope of one day returning home to his herd.

Plot Summary | Plot Synopsis

Taglines:

Some legends can never be tamed. See more »


Certificate:

G | See all certifications »

Parents Guide:

 »
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Details

Official Sites:

Country:

Language:

Release Date:

24 May 2002 (USA)  »

Also Known As:

Spirit  »

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Box Office

Budget:

$80,000,000 (estimated)

Opening Weekend USA:

$23,213,736, 27 May 2002, Wide Release

Gross USA:

$73,280,117

Cumulative Worldwide Gross:

$122,563,539
See more on IMDbPro »

Company Credits

Show more on  »

Technical Specs

Runtime:

Sound Mix:

| |

Color:

(Technicolor)

Aspect Ratio:

2.35 : 1
See  »
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Did You Know?

Trivia

During the opening sequence, the cloud formation behind the eagle looks like a herd of horses. Also, when Spirit is chasing the eagle a while later, his shadow and the eagle's merge together, making Spirit appear to have wings. See more »

Goofs

When Spirit is returning to the herd after escaping the Cowboys and believes himself to be safe, he neighs to his herd. When everybody looks up, the twin foals who were Grey earlier in the movie are now chestnut. See more »

Quotes

Spirit: Sometimes a horse has got to do what a horse has got to do.
See more »

Crazy Credits

No opening credits (for music composer, producers, screenplay and directors, etc.) are shown, which is story are about western horses is beginning well after the title of the film, "Spirit: Stallion of the Cimarron", although for the 2010s it conscious not quietly for commonplace and major films to not have opening credits. It was stuck of considered involving in 2002. See more »

Connections

Featured in The 75th Annual Academy Awards (2003) See more »

Soundtracks

Brothers Under the Sun
Written by Bryan Adams, Steve Jablonsky, Gretchen Peters
Performed by Bryan Adams
See more »

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User Reviews

The first great western of the 21st century!
18 May 2002 | by See all my reviews

SPIRIT: STALLION OF THE CIMARRON, the new animated feature from Dreamworks, is an honest-to-God western. Some of you may be forgiven for thinking it was just a horse movie, a distinct and definable genre in its own right (e.g. MY FRIEND FLICKA), but I assure you this is a real, bonafide western, complete with cavalry, Indians, Monument Valley and the building of the transcontinental railroad. It's a familiar saga (to western fans) but told here from the point-of-view of a wild horse. It just may be the only western that children in today's audience will get to see on the big screen. (And it's perfectly suitable for even the smallest children.)

The movie has three selling points for people who are appalled at how childish and inane animated features in the U.S. have been over the last decade or so:

1) It's got a serious story. 2) The horses don't talk. 3) The horses don't sing.

The latter two functions are served by Spirit's first-person narration, voiced by Matt Damon and told in the past tense as a reminiscence, and several songs on the soundtrack written and performed by Bryan Adams. Neither of these elements were particularly necessary and the movie would have been better without them, although they aren't fatal. Hans Zimmer's excellent music score does a far more effective job in conveying, in dramatic and emotional terms, what the songs belabor. But, thankfully, aside from Damon, there are no other celebrity voices.

The other big selling point is the artwork. The background art and western landscapes are stunning and offer a mix of painted scenes and computer-created scenery, although everything seems computer enhanced in one way or another. Most importantly, the film gives us a chance to savor the backgrounds. The characters don't zip around in constant frenetic motion the way they do in Disney movies. Although there are several chase scenes, the characters are just as likely to pause and connect with each other in movements reflecting naturalistic behavior. There are moments of gentleness, tenderness, curiosity, and discovery, so we get to see the space the characters are in and get to connect with it ourselves. There's a real palpable sense of environment and geography, of time and place, something rarely found in American animated features.

The character design is also well-done. The human characters all have solid, expressive, recognizable faces, strongly differentiated from each other. The horses are well designed also, looking like horses, but anthropomorphised enough to give them recognizable emotional responses. No character, human or animal, is exaggerated for cartoon effect.

I normally have problems with digital animation and computer created imagery and SPIRIT is, for the most part, computer created, although it replicates the look of traditional 2-D animation. Still, if this is the wave of the future, then SPIRIT shows us how it should be done. This is digital animation at the best I've ever seen it (including the Japanese anime features I've seen in the last few years). And combined with a good story and clean concept that doesn't patronize its audience, it's created what I think is the finest American animated feature since BEAUTY AND THE BEAST (1991). If there is any significant flaw in SPIRIT, aside from the songs, it's that the story falls short of greatness, undercut by the lack of a sufficiently emotional payoff. Still, it's a better story than any I've seen in an American animated production since at least THE LION KING. Some viewers may quibble about the politically correct aspects of the story (cavalry=bad, Indians=good), but there is a moment near the end that balances things out in an intelligent, dramatic way.

SPIRIT may suffer at the boxoffice because it doesn't have the all-important lowest-common-denominator touches that have so cheapened the animated genre but attracted audiences looking for easy laughs (e.g. celebrity voices doing hyperactive genies, show-tune-singing meerkats and jive-talking jackasses). But it should give a measure of hope to that small, passionate segment of the audience that cares about animation as a medium capable in its own right of great storytelling and cinematic artistry.


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