THE HORSE WHISPERER A film review by David N. Butterworth Copyright 1998 David N. Butterworth
***1/2 (out of ****)
It seemed wholly appropriate that at a weekend screening of "The Horse Whisperer," the start of the film was delayed some twenty minutes due to "projection difficulties."
Robert Redford's film version of Nicholas Evans' best-selling novel was supposed to have been in theaters last December, going head-to-head with "Titanic," but is only now making its much anticipated debut. This (strategic?) delay has allowed "The Horse Whisperer" to compete, sans fanfare, against some smaller, unassuming movies during a relatively slower time at the box office.
No matter. Redford's film stands head and shoulders above James Cameron's ocean-going tragedy, especially in the writing and acting departments. Whatever the reasons for its postponement, "The Horse Whisperer" supports the old adage "better late than never."
Redford has taken Evans' book and given it the big screen treatment. While parts of "The Horse Whisperer" are epic in scope and vision, especially the aerial "travelogue" that maps out this great country of ours, its real strength lies in the subtleties it uses to paint the fragile alliance between man and beast.
When her daughter, Grace, is involved in a terrible riding accident, hard-driven fashion editor Annie MacLean (Kristin Scott Thomas) devotes herself to rehabilitating both Grace and Grace's beloved horse, Pilgrim. Refusing to have the hideously disfigured animal put down, Annie researches every possible source of information about equine cures before discovering an article about a faith-healing cowboy of sorts called Tom Booker (Redford), who has a way with horses and, perhaps, with people too.
Undeterred by Tom's initial reluctance to get involved, Annie drives Grace and a sedated Pilgrim across country to meet him, and finally persuades Tom to work with the uncontrollable animal.
Redford's film unfolds slowly and lovingly, echoing the patience required in healing both physical and psychological wounds. The film's a little long and, even if you haven't read the book, it's pretty obvious where it's heading--but these are minor complaints. Redford and Thomas are strong and convincing as the couple drawn by a mutual affection for the great outdoors and each other, but it's Scarlett Johansson as Grace who shines in a more difficult role. Dianne Wiest, Chris Cooper ("Lone Star"), and Sam Neill--better than I've seen him before--round out the respectable supporting cast.
And the director's respect for horses is clearly in evidence. One word of warning, however: while brilliantly shot, the accident scene, involving an out-of-control truck, is extremely disturbing.
Redford's canvas is huge and exquisite. He doesn't hesitate to incorporate vast, sprawling vistas of the American northwest: spectacular, snow-capped mountain ranges, azure skies, and shimmering fields of wheat--all are resplendent in cinematographer Robert Richardson's viewfinder.
Veteran English composer John Barry was originally signed to score the film but left the project which is a pity, since "The Horse Whisperer" is "Dances with Wolves" by way of "Out of Africa" (Oscar winners both for Barry). Fortunately, Barry's replacement, Thomas Newman, contributes a fine score that nicely balances the majesty of Montana with the delicate, human conditions--sonorous, string-laden passages that swell with pride playing counterpoint to more poetic, introspective movements ripe with nuance.
"The Horse Whisperer" is that rare kind of movie: it looks good, it feels good, and by golly it does you good. The wait, it turns out, was well worth it.
-- David N. Butterworth dnb@mail.med.upenn.edu
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