When Laure de Clermont-Tonnerre decided to unleash The Mustang at Sundance 2019, there is little doubt that she knew she had a provocative concept that would intrigue millions. Who isn't inspired by the majesty of horses and a good underdog story? And while the scapes are breathtaking and the emotions visceral and real as best exhibited by Matthias Schoenaerts, there is something innately hollow and incomplete about the finished product.
While most hail this as a masterpiece, the majority of critics are unaware of the true plight of the Mustang and the lack of regulation on exactly how the BLM "manages the population". I had hope that one of the driving forces behind Clermont-Tonnerre's decision to choose this specific story was in fact to shed some much-needed light on this long-term problem, but alas--the extent of education the audience will receive is limited to the text at the beginning of the film.
Roman, played by Matthias Schoenaerts, is a convict serving at least ten years for some violent crime the audience is not privy to until the third act. When we first meet him, he is distant, hostile, and rigid. His first encounter with the Mustang actually beautifully showcases their similar circumstances, as he surreptitiously chooses to enter the Mustang's holding pen after hearing him pounding on the boards for days on end. It's during their second encounter that Roman shows his extreme volatile nature when he goes toe-to-toe with the Mustang in a fit of rage that he cannot control one more element of his life. This scene is particularly painful to watch for anyone that understands the psychological effects this would have on any horse, let alone when it's a wild horse that has not yet had a positive relationship with any human. In reality, this may have been a transgression that could never be mended, let alone in a matter of weeks. Beyond that, whether the scene was actually monitored by the American Humane Association was also a bit disconcerting.
In this and many other ways, the script feels rushed and sparse. Schoenaerts turns in a stellar performance in which you understand his pain and anger, however the film accelerates the plot too fast to find it believable that he suddenly comes to terms with his internal turmoil and then just starts reading up on equine literature like he's a changed man overnight.
And while through the course of the film, the audience can find themselves rooting for this beautiful lineback dun Mustang that Roman eventually named "Marquis", the haphazard way this comes about feels contrived. There was a lot of opportunity here to explore the delicate bond that can exist between man and horse, and how some basic tenants of natural horsemanship can have a profound effect on the development of that bond, and yet these dynamics are merely glossed over to serve the pace. The scenes jump from finally being able to touch him to riding with little incident.
Despite having seen almost every equine-related film, this one seems lacking the proper training and support of equine professionals to ensure the believability of the interactions. Not to mention the idea that an entire equine program could be shut down because one horse spooked at a helicopter much like the very same one that ran his entire herd into holding pens is quite frankly ludicrous, notwithstanding his ability to get the horse through not one but two broken fences. There's some underdeveloped subplots and a few unnecessary prison scenes that seem only to serve as a reminder that they are in fact in prison. Yes, we get it.
Ultimately, the inexperience of the director is clearly evident, from the generic yellow filter throughout to the uneven pacing and choppy editing. One thing the film does accomplish is allowing the audience to relate to the Mustang, feeling broken and misled. There was so much potential here... 5.0 out of 10.0
AUTHOR'S NOTE: It is my personal opinion that even critics' reviews these days are highly biased, specifically when it comes to a female-led cast or a female director or a specific studio. Everyone is trying too hard to be PC instead and honest and objective. Well, I myself am a female and was well aware of the prison rehabilitation programs with both horses in the western states as well as canines, as well as having equine experience myself. Take it from me--this is no The Black Stallion (1979). There are not many films that do the genre well, but here are a few:
The Black Stallion (1979), The Man From Snowy River (1982), Return to Snowy River (1988), Hidalgo (2004), Secretariat (2010), Sylvester (1985), War Horse (2011), Dreamer (2005).
While most hail this as a masterpiece, the majority of critics are unaware of the true plight of the Mustang and the lack of regulation on exactly how the BLM "manages the population". I had hope that one of the driving forces behind Clermont-Tonnerre's decision to choose this specific story was in fact to shed some much-needed light on this long-term problem, but alas--the extent of education the audience will receive is limited to the text at the beginning of the film.
Roman, played by Matthias Schoenaerts, is a convict serving at least ten years for some violent crime the audience is not privy to until the third act. When we first meet him, he is distant, hostile, and rigid. His first encounter with the Mustang actually beautifully showcases their similar circumstances, as he surreptitiously chooses to enter the Mustang's holding pen after hearing him pounding on the boards for days on end. It's during their second encounter that Roman shows his extreme volatile nature when he goes toe-to-toe with the Mustang in a fit of rage that he cannot control one more element of his life. This scene is particularly painful to watch for anyone that understands the psychological effects this would have on any horse, let alone when it's a wild horse that has not yet had a positive relationship with any human. In reality, this may have been a transgression that could never be mended, let alone in a matter of weeks. Beyond that, whether the scene was actually monitored by the American Humane Association was also a bit disconcerting.
In this and many other ways, the script feels rushed and sparse. Schoenaerts turns in a stellar performance in which you understand his pain and anger, however the film accelerates the plot too fast to find it believable that he suddenly comes to terms with his internal turmoil and then just starts reading up on equine literature like he's a changed man overnight.
And while through the course of the film, the audience can find themselves rooting for this beautiful lineback dun Mustang that Roman eventually named "Marquis", the haphazard way this comes about feels contrived. There was a lot of opportunity here to explore the delicate bond that can exist between man and horse, and how some basic tenants of natural horsemanship can have a profound effect on the development of that bond, and yet these dynamics are merely glossed over to serve the pace. The scenes jump from finally being able to touch him to riding with little incident.
Despite having seen almost every equine-related film, this one seems lacking the proper training and support of equine professionals to ensure the believability of the interactions. Not to mention the idea that an entire equine program could be shut down because one horse spooked at a helicopter much like the very same one that ran his entire herd into holding pens is quite frankly ludicrous, notwithstanding his ability to get the horse through not one but two broken fences. There's some underdeveloped subplots and a few unnecessary prison scenes that seem only to serve as a reminder that they are in fact in prison. Yes, we get it.
Ultimately, the inexperience of the director is clearly evident, from the generic yellow filter throughout to the uneven pacing and choppy editing. One thing the film does accomplish is allowing the audience to relate to the Mustang, feeling broken and misled. There was so much potential here... 5.0 out of 10.0
AUTHOR'S NOTE: It is my personal opinion that even critics' reviews these days are highly biased, specifically when it comes to a female-led cast or a female director or a specific studio. Everyone is trying too hard to be PC instead and honest and objective. Well, I myself am a female and was well aware of the prison rehabilitation programs with both horses in the western states as well as canines, as well as having equine experience myself. Take it from me--this is no The Black Stallion (1979). There are not many films that do the genre well, but here are a few:
The Black Stallion (1979), The Man From Snowy River (1982), Return to Snowy River (1988), Hidalgo (2004), Secretariat (2010), Sylvester (1985), War Horse (2011), Dreamer (2005).