Review of They Shoot Horses, Don't They? (1969) by Indi V — 07 Feb 2011

I was wondering how Pollack could possibly fill two entire hours with no more than people dancing on end, but he did it. In fact, the duration is part of the movieâ(TM)s strength. The impact of âThey Shoot Horses, Donâ(TM)t They?â? is primarily due to the continuous nature of the marathon and the emotions attached to it.

This is not just a competition, it is a struggle for life, a symbol of peopleâ(TM)s misery during the Depression and their desperate attempts to rise above it. This film is an impressive account of a historical period, of the will to live and the will to die once it becomes clear there are always people out there to take advantage.

The metaphor of the horses is applied accurately: horses are entertainment (compare the derby), horses are powerful, but horses are vulnerable too. Once they become invalids or lose their purpose in any other way, it is best to finish them off, for their own good.

Apart from the obvious message(s), I like the way Pollack portrayed ultimate fatique (dancers clinging on to each other to stay in the race), bonding between people who were recently strangers to each other, and the matter-of-factness of the entire event: we are presented with a bizarre spectacle that was obviously part of everyday routine back in the thirties.

Oh, and of course that wonderful music. I admit I had never heard of the existence of this special movie until I learned about a French theatre adaptation from 2004 named âOn achève bien les chevauxâ?.

Given the fact that the director (Robert Hossein) is a thirtiesâ(TM) nostalgist interested in the theme of abject poverty (hence his theatre and film/TV adaptations of âLes misà (C)rablesâ? (1982)), this choice hardly comes as a surprise.

Such a pity I will never be able to watch the play. All Iâ(TM)ve got is a CD with the showâ(TM)s music.