MPAA Rating: PG-13/Genre: War Drama/Stars: Jeremy Irvine, Peter Mullan, Emily Watson, Niels Arestrup, David Thewlis, Tom Hiddleston, Benedict Cumberbatch, Céline Buckens, Toby Kebbell, Patrick Kennedy, Leonard Carow, David Kross, Matt Milne, Robert Emms, Eddie Marsan, Nicolas Bro, Rainer Bock, Hinnerk Schönemann, Gary Lydon, Geoff Bell, Liam Cunningham, Sebastian Hulk, Gerard McSorley, Tony Pitts, Pip Torrens, Philippe Nahon, Jean-Claude Lecas, Julian Wadham, David Dencik, Edward Bennett, Johnny Harris, Tam Dean Burn, Maximilian Brückner, Maggie Ollerenshaw, Michael Ryan/Runtime: 146 minutes
As I did at the beginning of my review for 1991’s Hook from what feels like a million years ago, I think it is safe to remind you dear reader that even if iconic filmmaker Steven Spielberg makes a movie that is perhaps a bit off in some ways from what we have come to expect from him it is still not a “bad slice of cinema” by any stretch of the imagination. The reason I bring this up (again) is because I definitely feel like the slice of cinema, I am reviewing for you today, 2011’s War Horse, is another example of this cinematic concept in action. Indeed, here is a slice of cinema that is not only on the line between being a really good film and a genuinely great one, but also one that is extremely close to being the slice of cinema that it’s iconic helmer desperately was aiming for it to be. To that end, it should also be noted that the work being done both behind and in front of the camera is most assuredly more than capable and very much well-done as well. So then, you might be wondering, how can I say that this is not a genuinely great movie? Well dear reader, I’ll be honest with you: the stumbling block that ultimately trips this movie up is the fact that Spielberg tries just a wee bit too hard instead of just doing what we know he is capable of and just letting the magic flow from the movie in a much more organic manner. Indeed, had he chosen to engage in that trademark action of his that he has done so well in the past, I can definitely say that this would’ve resulted in this slice of cinema, in my eyes anyway, being added to the list of nothing short than absolute brilliant entries in Spielberg’s truly legendary filmography. Even with that in mind however, there is no denying that War Horse is still a really good both behind and in front of the camera reminder for all of you movie goers out there that even when Spielberg has the cinematic equivalent to “a bad day at the office” that the man is still able to make a movie that is leaps and bounds better than a lot of other slices of cinema being made in the realm of movie magic nowadays.
The plot is as follows: An adaptation of a children’s story from the long-ago year of 1982 by an author named Michael Morpurgo that was then brilliantly transformed into an award-winning play, War Horse gets underway as we are introduced to a quite distinct young horse as he is, without thinking, purchased at an auction by a farmer who, along with his family, has fallen on hard times and wasn’t supposed to buy our hoofed hero, but instead a larger and tougher horse that could operate a plow. Yet while the farmer’s wife isn’t exactly happy with the horse that her husband has brought home, we see that the exact opposite is true for their son Albert who doesn’t take long in forming quite the loving and incredible bond with this horse he soon christens Joey. It is perhaps because of this loving bond that we see Albert vow to his parents that he will not only raise, but also tirelessly teach Joey to do everything in his power to try to plow the family’s rocky-soiled farm. Yet, despite a brief respite, we soon see things get even tougher for the family and as a result, Joey finds himself separated from a heartbroken Albert and placed smackdab in the middle of what we now know as World War I. It is as this point that we see this slice of cinema transform itself into becoming a group of quasi-sorta mini-arcs that all revolve around the assorted collection of people that Joey encounters including the honorable young military captain who promises Albert he will take care of his horse friend, a pair of young men rather begrudgingly serving the German Army on the front line and who plan to desert, and an older French farmer and the grandchild he loves with all of his heart. Yet no matter where he goes or who he crosses paths with, we see that for Joey there is only one thing that matters. Not just to survive, but to make his way back to his original owner, who at some point is able to enlist in the British Army, so that together the two of them at long last can make their way back home.
Now, in terms of the work being done behind the camera on this slice of cinema, it should be made clear that it is dependably top-notch in every sense of the word including Spielberg’s direction which, as par for the course, is nothing short of absolute brilliance. Along with that, we see Spielberg’s usual collaborator in the cinematography department, one Janusz Kaminski, is able to incorporate into this slice of cinema a collection of truly jaw-dropping images from the gorgeous countryside of England all the way to the gray and haunting combat zones. Now I do appreciate the work done here by composer John Williams and his score isn’t bad, but I would be amiss if I didn’t take the time to point out that there are moments here and there where it does tend to go perhaps a wee bit overboard. It should also be noted at this time that this slice of cinema’s screenplay, penned by a pair of writers named Lee Hall and Richard Curtis respectively, does do a respectful job in the fact that it doesn’t not have the character of Joey operate as any more or less than the horse that he is. To be sure, he does possess a terrific flair for survival, is capable of luck at just the right points in time, and a wonderfully organic charm (despite the fact that this character is portrayed by no less than 2 dozen animals), but there isn’t anything about his behaviors/actions that are anti-horse like in nature. As a result, this helps immensely in contributing much-needed believability to this narrative that it requires due to the degree of coincidence that is a key part of several integral events in the narrative. We also see that while the dialogue might not always be on point, none of the emotions that are showcased will come out of left field with one exception where, without going into spoilers, we get to witness as core humanity manages to succeed over hostility based off one’s country of origin. Along with that, it should be noted that this slice of cinema is very much one film that honors the PG-13 rating it has been saddled (pun intended with). Yet while we might not see buckets of blood or some pretty grisly battlefield injuries, the film is still able to valiantly get the point across that at the end of the day the only thing even remotely genuinely spectacular in regard to armed conflict is the honor and courage it conjures up at times on the part of those who participate in it.
Of course, the other big component that works in this slice of cinema’s favor would have to be the cast of human players that is working their respective magic in front of the camera even if they are all, more or less, operating here as co-stars in the grand scheme of things. This starts with Jeremy Irvine who, in his cinematic debut, is actually not that bad as Albert. Indeed, not only does Irvine form a bond with Joey that is very much genuine, but his performance is one that proves to be wonderfully nuanced to say nothing of one that doesn’t construct a whole lot of credibility all at once. Instead, Irvine does the opposite and allows the character’s credibility to be wonderfully constructed in a manner that can best be described as slowly but surely as the film goes along. Suffice it to say that it is a wonderful performance and I am glad to see that this young man has by no means managed to be a one and done kind of performer in the land of movie magic. Meanwhile we also see that Peter Mullan does absolutely fantastic in the role of Albert’s inebriated yet caring and warmhearted dear ol’ dad Ted. Sure, the character is one that could have been a cliché in some ways, but Mullan bucks those cliches to the curb and instead gives us a terrific portrayal of a man who loves his family and definitely means well yet really hasn’t been the same since he himself came home from fighting in a war. It should also be pointed out that, in the role of Albert’s mom Rose, Emily Watson takes a part that could have just been a one-note character at best and manages to give it vivid life in a manner that is truly a testament to her phenomenal skill as an actress. Perhaps one of the more compelling turns in the whole movie however belongs to Niels Arestrup who, as a loving grandfather who sees his life thrown into a tailspin by the war, is so magnetic that he makes it extremely difficult to determine how you would like this slice of cinema to wrap up. Yet along with these truly gifted efforts there are also some fantastic performances on display here from such noted thespians as Benedict Cumberbatch (though let’s be honest: that is one man who is good in just about anything he does), David Thewlis, Eddie Marsan, Toby Kebbell, and Tom Hiddleston (even IF I like to think he is just playing a good-guy variant of Loki in this). More than any of his human co-stars however, it cannot be denied that the horse known as Joey is this slice of cinema’s bonafide star and in that regard not only is he phenomenal, but I am still in awe of how Spielberg was able to milk as much character and personality out of this animal lead as he is ultimately able to. Yes, the role was played by no less than at least 2 dozen horses and yes there are moments where it is clear Spielberg is engaged in obvious toying with emotions, but even with that in mind there is no denying that the character of Joey is one that should still be able to keep you engaged in this slice of cinema from beginning all the way to its quite emotional end.
All in all it should come as no surprise to learn that the 2011 slice of cinema that is War Horse is one that very much is a Steven Spielberg slice of cinema through and through. By that I mean it is operating with a fairly expansive scope, there are several gorgeous locales we are taken to throughout, and there is a healthy mix of action and heart in operation herein throughout. Suffice it to say that Spielberg has experience with the war genre of movie magic having given audiences one slice of cinema that is among the most iconic ever in Saving Private Ryan and another that, much like this one ironically, is among the genre’s most underrated in 1987’s Empire of the Sun. With this film however, Spielberg is faced with a rather unique endeavor that those other movies were not saddled with. Namely that he has to make a war film equivalent to the story of Black Beauty. By that I mean that yes there is human talent to be found here, but they are all operating as more or less co-stars to the character that movie goers will have to be able to properly invest in for over two hours which is a non-talking horse that also, for you readers of a certain age out there, is NOT named Mr. Ed. Yet even though there are several aspects in which this slice of cinema doesn’t exactly operate on the level that it could’ve, and should’ve given the pedigree of talent involved, that doesn’t mean this is one slice of cinema that is nothing more than a giant pile of horse manure. Far from it. In fact, this film is one that behind the camera is most definitely competently made by all departments involved and in front of the camera has a collection of quite solid performances as well as some sub-arcs that are actually fairly well done. However, even though there is a lot to like about this slice of cinema including the clear heart and passion at its core, this film is also guilty of possessing a few shockingly lethargic stabs at trying to get you to locate the nearest box of tissues in your vicinity. Be that as it may be, War Horse certainly is a good slice of cinema as well as one that I would view again if given the chance to do so, but at the same time I must confess that if a few things had been tinkered with just slightly then this simply good cinematic effort could have been one that was genuinely great. Make of that dear reader what thou will. On a scale of 1-5 I give War Horse “2011” a solid 3.5 out of 5.
