War Horse review

Among the many themes that emerge or converge in the films of director, producer, writer Steven Spielberg are lonely children and war, specifically World War II. From the kids in “E.T”: the Extra-Terrestrial” (1982) to the Oscar-winning “Schindler’s List” (1993),  a black and white film but viewers may remember the little Jewish girl in a red coat, waiting for transport to the Nazi death camps. And from “The Color Purple” (1985) for which he deserved an Oscar, to one of my personal favorite’s, this year’s “Super 8”, Spielberg captures lonely children, or children estranged from, or in tension with, their fathers, as none other.

Saving Private Ryan” (1998), and the TV miniseries “Band of Brothers” (2001) and “Pacific” (2010) and back to cinema with “Letters from Iwo Jima” (2006), Spielberg draws the heartbreak of war with the pen of cinematic art as few others, perhaps none other. But I think with “War Horse”, opening in theaters on Christmas Day, is Spielberg’s take on the Academy Award winning 2009 film “The Hurtlocker”, his chance to show how war shreds humanity through the desperate courage and pain of a war horse.

“War Horse” is based on based on a 1982 children’s novel by Michael Marpurgo and has been made into a stage play in 2007 that friends have told me is extremely moving. It is estimated that millions of horses died in World War I from all the armies involved.

A few months before England declared war on Germany in 1914, a horse is born in Devon. Albert Narracott (Jeremy Divine), the only son and of  tenant farmers Ted (Peter Mullan) and Rose (Emily Watson). Ted goes to market to buy a workhorse, presumably a Clydesdale, but is enthralled with the strength and beauty of Joey. He spends money he does not have and takes the horse home, to the derision and disapproval of all except Albert.

Joey proves his worth by plowing an impossibly rocky field but the crop is lost in a rainstorm. When war is declared, soldiers come to the village to buy horses, and an officer promises Albert he will bring Joey home safe if he can.

Joey heads into war with the British soldiers, is lost to the Germans, taken in by a French farmer and his granddaughter but eventually ends up working the German transport lines with Topthorn, a black stallion also captured from the British army.

As the longest, most deadly war in history nears the end, Joey escapes from his cruel masters (though some wranglers were good to the horses) and in a heartbreaking sequence, wrapped in barbed wire, cut and bleeding, makes a run for it through no-mans-land. This is the films’ finest, most poignant, terrifying scene, that culminates with Germans and British units recognizing the transcendent strength of this noble steed, and changing them all, just for a moment.

There are elements of the film that won’t pass muster to the careful viewer. The crop that gets ruined is on a slope; my sister, who has a large garden, said the rain would have run off, not drowned the vegetables.  The crookedly plowed field turns into the perfectly furrowed plot from one scene to another. Albert, who eventually is old enough to go to war, is blinded by gas and then all of a sudden he can see but the audience does not get to see that moment. I wanted to see this because the characters were not well developed; the one with the most interesting potential was Rose, played by Emily Watson.

The film has been nominated for many awards for cinematography, that magical craft of bringing light and camera together, by Janusz Kaminski. Kaminski has worked on many Spielberg movies, winning Oscars for “Schindler’s List” and “Saving Private Ryan”.  But I found the digital color “filming” to be over saturated making the characters seem almost as if they were motion-capture animation. Some of the staging of the scenes seemed to have been lifted right out of “Gone with the Wind” and “The Searchers”.

I think the dissonance I am feeling about the film is the extravagant production quality in 3D vis-à-vis a story that was more simple (as in less complex) than the huge production called for.

In the end, “War Horse” is about war and it is about the ways that animals can teach us to be more human. It’s too long, but it is inspiring. The horses, several were used for both Joey and Topthorn, will astonish you.

Everything in the film is true, and some of it did happen.

 

Our Media World: Teaching Kids K-8 about Faith and Media heads to the printer!

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Here is the cover, front and back! OUR MEDIA WORLD by Sr. Gretchen Hailer, RSHM and I, will be published by Pauline Books & Media www.pauline.org in January, 2010 (God-willing and nothing unforeseen arises). More information to follow!

Along with our 2007 book MEDIA MINDFULNESS: EDUCATING TEENS ABOUT FAITH & MEDIA (St. Mary’s Press, www.smp.org), with the publication of OUR MEDIA WORLD, teachers, catechists, parents, youth ministers, those engaged in pastoral ministry for parents, clergy, will have a consistent strategy K- 12 for engaging critically and mindfully through the lens of faith in popular culture and the media world. 

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See you at the NCEA April 14-16

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Here’s a good idea! If you will be attending the National Catholic Education Association conference this week at the convention center in Anaheim, first visit the booth of the Daughters of St. Paul/Pauline Books & Media (booth #634) where I will be signing books (as will Sr. Armanda Santos who has a beautiful new book out on st. Paul and Art).

You may also want to attend one of my workshops:

Tuesday, April 14

Cinema Divina: shared Praxis and Prayer – Room 304 1:30pm

Navigating Our Media World (with Sr. Gretchen Hailer, RSHM) – Room 304 3:15-4:30

Wednesday, April 15

Character Education and Media Mindfulness (check time and location)

Thursday, April 16

CATHOLIC LIBRARY ASSOCIATION  (Hyatt Regency Orange County)

Looking at Dark Materials through the Light

Leaders in the faith community are frequently challenged to critique and judge all kinds of media

because we live in a mediated world. We are asked to make informed, pastoral judgments about media that the faithful then challenge. What’s a librarian or teacher to do when the only constant thing about any media is that they are inconsistent — or are perceived to be? This presentation will consider guidelines and criteria for navigating the media products of our culture in ways

that are consistent with principles of Catholic education and pastoral practice.

A handout will be provided and clips will be integrated into the seminar.

Sponsored by: High School/ Young Adult Library Services Section

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