War Horse (2012)
Upon the plush green pastures of English county Devon, the tale sets place in the early 20th century. A foal is born, and a young lad looks on, adoringly. In War Horse, Steven Spielberg and his collaborators create an elegant corny-and-his-horse story, magnified by an epic war backdrop. Based on the adaptation of Michael Murpurgo's best selling children's novel, this time-testing tale of elemental journey, stirs up emotions of joyful renditions.
The movie starts with a small farming family of Devonshire, England, where we meet Young Albert Naracott (Jeremy Irvine), his drunken, yet patron father, Ted (Peter Mulligan), and his hard-working, affable mother, Rose (Emily Watson). His father buys the same horse Young Albert has his heart on, over an auction held in the village. Drunken Ted bought the horse with the rent money for their farm in the determination to outbid his landowner, Lyons (David Thewlis), who takes great pleasure in mowing their strife. He presses them on for due rent. Young Naracott names the horse, Joey, and trains him with his soul. Following a positive harvest through ploughing of their field, rain storms one night brings the news of War declared by Germany. Ted sells Joey to the British cavalry. Albert vows to buyback Joey one day. His efforts to enroll in the army is barred by his underage.
Joey's travels find him many masters, of different cultures and origins. One of them, Capt. Nicholls (Tom Hiddleston), share the same affinity his previous master possess. A surprise attack on German soldiers doesn't fare out well, when the Germans lead the British cavalryman across the forest border, and gun them down with artilleries and cannons. A few hundreds of both soldiers and horses are massacred. It is one of the best battle sequences Spielberg has ever directed. All wars are hell. And both men and horses, have their bloodshed. Yet, war provides no comfort. It is as one of the German officer explains that a horse is a weapon and must either be used or killed. Another benchmark scene which, I believe, Spielberg has ever rolled, is when Joey, runs across the trenches in sheer panic and cuts himself through barbed wires and posts, producing deep flesh tears. Later on, a temporary truce is ensued when both sides of the men, skillfully cut the wires on Joey's body and set him free. The scene explains the mundane activities of war, across the inter-play between these two men. It liberates many notions of war. Ultimately, it is the horse that reminds these warriors of their humanity.
The movie branches out to many set pieces, where Joey is the protagonist of the film. His escapades through many terrors and satanic chaos, drives the poor beast mad. Watching his scars and brutal compulsion is painful. On the other end, we see young Albert battling through warfare, transitioning into manhood. Spielberg and scriptwriter Richard Curtis, collapse both Joey and Albert, young and preserved, into terrain of chaos and fear. Both come out victoriously, and align together in unordained circumstances. The characters are bold in their expressions, and exquisitely defined. The reconstructed belief in heroism and gallantry is all so reassuring. Another lovable character is of a French jam-maker (Niels Arestrup), who meets Joey through his grand daughter, Emilie's finding. The cheerful grandfather explains Emilie of the many forms of bravery. Joey's bravery is hooded, just like Albert's valour to find him. The treasures of such braveness surface through love. That journey which shredded them both apart, shall be mended in coincidences beyond reasoning.
Spielberg's adaptation, I believe pays homage to the melodramatic musical pieces of Hollywood tradition. The concluding scene with sharp hues of reds and oranges, and play-wright framing is wonderfully constructed. A silhouette riding a horse towards his home, dismounts, and reinstates his father's mettle, while a motherly figure gently pats her son. Music waves. The film's artistry is undoubtedly in aces. It is a peek into the Spielbergian universe of comic touches, and grand visuals. He is the foremost purveyor of American sentimentality. War Horse promises a tear-jerking ride, yet steers our emotions in an uplifting manner.
3.5/5
Upon the plush green pastures of English county Devon, the tale sets place in the early 20th century. A foal is born, and a young lad looks on, adoringly. In War Horse, Steven Spielberg and his collaborators create an elegant corny-and-his-horse story, magnified by an epic war backdrop. Based on the adaptation of Michael Murpurgo's best selling children's novel, this time-testing tale of elemental journey, stirs up emotions of joyful renditions.
The movie starts with a small farming family of Devonshire, England, where we meet Young Albert Naracott (Jeremy Irvine), his drunken, yet patron father, Ted (Peter Mulligan), and his hard-working, affable mother, Rose (Emily Watson). His father buys the same horse Young Albert has his heart on, over an auction held in the village. Drunken Ted bought the horse with the rent money for their farm in the determination to outbid his landowner, Lyons (David Thewlis), who takes great pleasure in mowing their strife. He presses them on for due rent. Young Naracott names the horse, Joey, and trains him with his soul. Following a positive harvest through ploughing of their field, rain storms one night brings the news of War declared by Germany. Ted sells Joey to the British cavalry. Albert vows to buyback Joey one day. His efforts to enroll in the army is barred by his underage.
Joey's travels find him many masters, of different cultures and origins. One of them, Capt. Nicholls (Tom Hiddleston), share the same affinity his previous master possess. A surprise attack on German soldiers doesn't fare out well, when the Germans lead the British cavalryman across the forest border, and gun them down with artilleries and cannons. A few hundreds of both soldiers and horses are massacred. It is one of the best battle sequences Spielberg has ever directed. All wars are hell. And both men and horses, have their bloodshed. Yet, war provides no comfort. It is as one of the German officer explains that a horse is a weapon and must either be used or killed. Another benchmark scene which, I believe, Spielberg has ever rolled, is when Joey, runs across the trenches in sheer panic and cuts himself through barbed wires and posts, producing deep flesh tears. Later on, a temporary truce is ensued when both sides of the men, skillfully cut the wires on Joey's body and set him free. The scene explains the mundane activities of war, across the inter-play between these two men. It liberates many notions of war. Ultimately, it is the horse that reminds these warriors of their humanity.
The movie branches out to many set pieces, where Joey is the protagonist of the film. His escapades through many terrors and satanic chaos, drives the poor beast mad. Watching his scars and brutal compulsion is painful. On the other end, we see young Albert battling through warfare, transitioning into manhood. Spielberg and scriptwriter Richard Curtis, collapse both Joey and Albert, young and preserved, into terrain of chaos and fear. Both come out victoriously, and align together in unordained circumstances. The characters are bold in their expressions, and exquisitely defined. The reconstructed belief in heroism and gallantry is all so reassuring. Another lovable character is of a French jam-maker (Niels Arestrup), who meets Joey through his grand daughter, Emilie's finding. The cheerful grandfather explains Emilie of the many forms of bravery. Joey's bravery is hooded, just like Albert's valour to find him. The treasures of such braveness surface through love. That journey which shredded them both apart, shall be mended in coincidences beyond reasoning.
Spielberg's adaptation, I believe pays homage to the melodramatic musical pieces of Hollywood tradition. The concluding scene with sharp hues of reds and oranges, and play-wright framing is wonderfully constructed. A silhouette riding a horse towards his home, dismounts, and reinstates his father's mettle, while a motherly figure gently pats her son. Music waves. The film's artistry is undoubtedly in aces. It is a peek into the Spielbergian universe of comic touches, and grand visuals. He is the foremost purveyor of American sentimentality. War Horse promises a tear-jerking ride, yet steers our emotions in an uplifting manner.
3.5/5
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