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I Will Walk Like a Crazy Horse (1973)

J'irai comme un cheval fou (original title)
Not Rated | | Drama | 22 November 1973 (France)
Running away from the police, Aden goes to the desert where he meets an uncivilized man who has a special link with Mother-Earth. He ends up by convincing the hermit to come along with him into another desert... the big town!


Fernando Arrabal (as Arrabal)


Fernando Arrabal (as Arrabal)

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Cast overview, first billed only:
Emmanuelle Riva ... La mère (Madame Rey)
George Shannon George Shannon ... Aden Rey
Hachemi Marzouk Hachemi Marzouk ... Marvel
Marco Perrin ... Oscar Tabak
François Chatelet François Chatelet ... Le prédicateur
Marie France Marie France ... Bijou-Love
Gerard Borlant Gerard Borlant ... Le concierge
Jean Chalon Jean Chalon ... Le maître d'hôtel
Raoul Curet Raoul Curet ... Commissaire Falcon
Luc Guérin ... Aden enfant
Antoine Marin Antoine Marin ... Le boucher
Pedro Meca Pedro Meca ... Le 1er mangeur
Gilles Meyer Gilles Meyer ... Cascadeur
Myriam Mézières Myriam Mézières ... Dell
Camilo Otero Camilo Otero ... Le 2ème mangeur


When his mother dies, the police want to talk to Aden Rey, but Aden, a guilt-ridden epileptic, has left for the desert. There he comes upon Marvel, a noble savage. Aden, Marvel, and Marvel's goat become companions through travels, a wedding, an examination of Aden's role in his mother's passing, a trial, additional deaths, and various meals. There are also flashbacks to Aden's childhood and his relationship to his mother. Meanwhile, the police step up their efforts to find Aden. Written by <jhailey@hotmail.com>

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Plot Keywords:

nihilism | police | desert | goat | death | See All (53) »




Not Rated | See all certifications »

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French | Danish | German

Release Date:

22 November 1973 (France) See more »

Also Known As:

I Will Go Like a Wild Horse See more »

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Color (Eastmancolor)| Black and White
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User Reviews

I WILL WALK LIKE A CRAZY HORSE (Fernando Arrabal, 1973) **
11 July 2008 | by Bunuel1976See all my reviews

This was my third Arrabal movie after VIVA LA MUERTE (1971) and THE GUERNICA TREE (1975); all three were released as a DVD Collection by Cult Films – however, I came to own all of them via alternate formats…which, frankly, saved me from doling out my hard-earned cash for the set (especially since I only really liked THE GUERNICA TREE)!

To be honest, Arrabal has here reconfirmed himself an exponent of the kind of Surrealism which I find hollow, ostentatious and positively grating – much like the work of his contemporary Alejandro Jodorowsky (though in his case I’m 50/50, as at least I’m partial to two of the four films I’ve watched so far). Mind you, as I’ve said more often than I care to remember, my all-time favorite film-maker is Luis Bunuel – perhaps Cinema’s foremost Surrealist – and the art form itself is one I feel to be most congenial to the language of film…but not when it resorts to emetic, shocking-for-shock’s sake detail (such as the pointless images here of ejaculation, scatology, various sexual perversions, and ending with cannibalism)!

What little plot there is concerns a murder mystery, which then develops into a chase when the victim’ own son is somehow targeted as the perpetrator; the unsubtly-named Police Inspector Gay follows the handsome anti-hero into the desert, where the latter meets a magically-endowed dwarf. In spite of the danger, the man returns to the city (Paris) and takes the little man along: the latter’s incongruity with his surroundings – he’s a shepherd who never caught up with the modern world – is fairly perceptive and, even if the midget’s behavior is generally nothing short of obnoxious, this constitutes just about the only tolerable aspect of an otherwise grossly self-indulgent film. For what it’s worth, everything comes to a head when one character takes over the personality of the other!

Incidentally, given the number of ‘humiliating’ scenes she appears in, it’s baffling how a respected actress like Emmanuelle Riva (playing the mother) allowed herself to be involved with this kind of extreme stuff! And, just as much of a paradox is the fact that, for all his intended savagery and pointed irreverence, Arrabal gives the film a curiously polished look – which is accompanied besides by a quite agreeable soundtrack (highlighting gibberish children’s vocals)…

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