The Black Stallion 1979 123movies

Watch: The Black Stallion 1979 123movies, Full Movie Online – While traveling with his father, young Alec becomes fascinated by a mysterious Arabian stallion who is brought on board and stabled in the ship he is sailing on. When it tragically sinks both he and the horse survive only to be stranded on a desert island. He befriends it, so when finally rescued, both return to his home where they soon meet Henry Dailey, a once-successful trainer. Together they begin training the stallion to race against the fastest horses in the world..
Plot: While traveling with his father, young Alec becomes fascinated by a mysterious Arabian stallion that is brought on board and stabled in the ship he is sailing on. When it tragically sinks both he and the horse survive only to be stranded on a deserted island. He befriends it, so when finally rescued both return to his home where they soon meet Henry Dailey, a once successful trainer. Together they begin training the horse to race against the fastest ones in the world.
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Ratings:

	7.4/10 Votes: 12,984
	90% | RottenTomatoes
	84/100 | MetaCritic
	N/A Votes: 238 Popularity: 8.814 | TMDB

Reviews:

Much more than a children’s movie…
This film is offered as children’s fare. That does not matter to me. It succeeds as an professionally presented film for adults.

I am in no position to bellyache about how little it resembles Walter Farley’s children’s book. I have read some of the book. The book does not interest me.

Neither does its set-up for whatever sequels interest me. They were, by most accounts, mediocre.

This film, “The Black Stallion”, holds a great deal more for me than most other pictures.

The film is one of the most powerfully beautiful sets of moving images I have ever seen on screen conjoined with sumptuous music and gently mesmerizing performances. Its editing awards, cinematography awards, and the awards for its music all were well deserved.

From the wreckage of the “Drake” through the lengthy bonding of boy and horse on the island, through to their rescue, not a word is spoken. It is one of the longest, most intensely cast verbal negative spaces in film. Civilization is dispensed with, language is removed, layers of meaning are stripped; there is no intellectual comfort on which to fall back. Into that emptiness fall the sound of waves and wind and rain as though natural extensions of Carmine Coppola’s exquisite score. The film’s soundtrack is wonderfully uncomplicated and moving. The island sequences are visited by small groups of instruments in turn — a harp here, primitive percussion there, minimal woodwinds; no brass intrudes for a long time — in musical experiments of loneliness yielding to companionship that echo the tentative meetings of the boy and the horse.

Such negative spaces abound in “The Black Stallion”, carved from the soundtrack (the roar and crush of sound in the midst of the final race sequence blur out into a blissful, quiet emptiness touched lightly by flute and brass), washed clean of visuals (for the bulk of one critical scene, horse and boy, the centers of attention, disappear, literally, and focus is on the tiniest details of ticking watch hands and empty sheets of translucent night rain), and opened at great lengths in the dialogue: Alec’s mother responds to her son’s plea with a tortured delay and Teri Garr, in remarkable performance, draws out her strangely active non-speech for many long seconds before her two-word reply closes this particular negative space with the thunderclap of a rushing locomotive and the thrust of a guitar as the soundtrack slams back in.

The final burst of joy from the island sequence’s soundtrack is so magnificent, so full and compelling, it is odd to listen, carefully, to its hesitant introduction as the horse finally permits the boy to mount: small flicks at the harp joined by a reed or two before the tympani knock insistently to tell us something miraculous has happened.

And we need that wake up call: We have to come up for air. Our vantage point for Alec’s first ride begins *under water*. We see only six legs and, then, much boiling and thrashing in a scene that is as intimate and anticipatory as only the best love scenes ever filmed. And this *is* a love scene, in every sense. The charging aerial streamings and broad panning shots that follow the boy and the horse and the forces of nature, the sand and ocean through which they tear, convey as deep a physicality as in any love scene.

This film, with its powerful sensory immersion, offers much about love and tenderness and touch and connectedness to an audience inclined to forget that most motive force in life comes through the union of dissimilar entities and the experience of sex is, at its fullest, not just about bodies conjoined: it’s also about longing and belonging and trust and completion though union with one’s chosen and preferred. “The Black Stallion”, G rating and all, is one of the most powerfully sexy films ever made. It offers every amended glory possible in any sexual relationship that proceeds past involvement of ‘the plumbing’.

In both illustration and disclosure of why this film means so much to me, I might as well mention I was 38 the last time I watched this movie, my first viewing of it in many years. The young lady with me had never heard of it. When, at its end, she turned to hot, liquid sunshine in my arms, weeping in amazement, not fully understanding why she’d been so moved, we began a romance that has refused easy definition ever since — but I cannot imagine a stronger bond. The magic of this film perfectly mirrored the best possible feelings within us. A kid’s movie? Sure, if you say so.

This is a wonderful film. It will not push or drag you. But watch — and listen — closely and let it take you where it can and it will amaze you.

“Son, if you can ride that horse, you can have that horse”.
When I was about eight years old in the third grade of parochial school, our teacher walked the entire class down to the local library about a block away. It was my first time at the library, and the first time I ever took out a book. This was going to be an important decision and I took my time. The one that finally caught my eye was ‘The Black Stallion’ by Walter Farley. I loved that book so much I wound up taking out additional ones in the series – ‘The Black Stallion’s Blood Bay Colt’ and ‘The Island Stallion’s Fury’ are a couple I remember. The sequels didn’t hold up for me like the original, which made enough of an impression that I still remember it some fifty years later.

So it took fifty years more to see the movie; actually only a little over thirty since the film came out in 1979. If the picture doesn’t exactly follow the novel, I can’t say, but what I DO remember having read is beautifully translated to the screen under Francis Ford Coppola’s direction. I watched the picture with my daughter and granddaughter, who sat transfixed to the screen. Not an easy feat for a two year old, but she made it through the entire story.

The entire first half of the movie is presented with virtually no dialog. Once shipwrecked on the island, the film focuses on the bonding relationship between Alec (Kelly Reno) and the Black, wonderfully photographed amid ocean waves and stark desert shores. The breakthrough moment occurs when the Black accepts Alec as his rider and friend, and one can’t help but feel inspired by the relationship forged between both.

Interestingly, Mickey Rooney, who portrays trainer Henry Dailey, appeared in a similar role some thirty five years earlier in 1944’s “National Velvet”. Both pictures follow similar themes with their young heroes, who love horses and yearn for a chance to prove their abilities in a race of consequence. Although the outcomes are somewhat different, both stories provide the kind of pleasure and excitement that can be enjoyed by young and old alike. Just ask a two year old.

Other Information:

Original Language en
Runtime 1 hr 58 min (118 min)
Budget 2700000
Revenue 37799643
Status Released
Rated G
Genre Adventure, Family, Sport
Director Carroll Ballard
Writer Melissa Mathison, Jeanne Rosenberg, William D. Wittliff
Actors Kelly Reno, Mickey Rooney, Teri Garr
Country United States
Awards Nominated for 2 Oscars. 8 wins & 6 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix 70 mm 6-Track (70 mm prints), Dolby Stereo (35 mm prints)
Aspect Ratio 1.85 : 1
Camera N/A
Laboratory Technicolor, Hollywood (CA), USA (color)
Film Length 3,210 m (Sweden)
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 70 mm (blow-up), Super 8, 35 mm