[Originally published in Movietone News 66-67, March 1981]
The Black Stallion is more pretty than beautiful, more contrived than inspired. In reporting on the San Francisco Film Festival last fall, I wrote: â€œThe Black Stallion, directed by Carroll Ballard for Francis Coppola’s Omni Zoetrope, was clearly a success with its â€˜hometownâ€™ audience. Itâ€™s an adaptation of the famous childrenâ€™s story, and it seems designed for annual â€˜prestigeâ€™ showings for the family market. It has its moments of visual beauty, but a little more poetic daring and a little less in the way of safe artiness might have made this one something more than an expertly conceived business proposition.â€ After a second viewing of the film recently, I still find myself feeling that way. The whole thing has an â€œinnocentâ€ charm about it, and there are some stunning shots. Itâ€™s pretty and nice in ways that are merely pretty nice. The story seems better suited to the format of the full-length animated cartoon, and the flashy photography draws heavily on the kinetics of the TV commercial and the imagery of travel ads. There is an obvious element of fantasy to this tale of a boy saved from a shipwreck by a wondrous black stallion which becomes the boyâ€™s constant companion and which said boy rides to victory in a big challenge race against two top thoroughbreds.