The Black Stallion Movie Analysis

In the first fifty minutes of the classic film, The Black Stallion, there is little dialogue. It is through the elements of film that the director makes the plot and the feelings of the characters apparent. During the part on the island three sections stand out, including the parts where Alec acquaints himself with his surroundings, the survival on the island, and Alec taming the Black.

While Alec is exploring the island you feel his sense of awe at the wide expanses of nature. The camera makes wide sweeping establishing shots of the island which make Alec seem small and insignificant in relation to the setting in which he has been placed. The music is extradiegetic, which means that the source is not from the story world in the film, but instead focuses on the events and emotions of the characters. It is calm, which contrasts with the chaos from the sinking ship in the previous scene. The narrative is told in a linear fashion through the flow of music and the gaping emptiness of the strange landscape. This scene functions to make a shift in location and show the forced independence of Alec. The editor uses a series of direction match cuts which captures Alec’s progression around the island. The setting is an important element since it was all taken outside rather than in an elaborate studio which also makes the lighting very naturalistic.

An important part of the island section of the film is the dependence the horse and the boy have with one another. Alec sees that the Black Stallion is trapped, screaming, and trying to escape the bonds which have entangled him. The horse appears flustered and wild, while Alec is calm and patient in his approach. The camera captures full shots to show the restraints before closing in to focus on Alec and The Black. During the moments of stress the music dies out and the sound concentrates on the natural sounds of terror from the horse. The music returns upon the horse’s escape, signifying his freedom, however Alec at this point feels sad and trapped on the island. The weather is also a good indicator of emotion since Alec seems more miserable when it is stormy rather than clear. Later on, The Black saves Alec in return. There is a feeling of suspense caused by the snake approaching the sleeping figure of Alec, while the music heightens in pitch and intensity. The boy and snake stare at one another in an apparent stalemate and the music stops abruptly, before returning in frenzy while the snake is attacked and beaten to the ground. Alec has once again been saved by The Black.

When Alec sees The Black and visually connects it to his statue of Alexander the Great’s horse, he gets a determined look on his face. Even without words you know what he will attempt to do. You can imagine him comparing his situation to the legend that his father had told him on the ship. Alec then attempts to contact the stallion. The music is a calm combination of harp then sharply changes to frantic drums as the horse scampers away. The horse and the boy contrast beautifully with the backdrop of water and sky, giving this scene a timeless quality. The camera closes in to capture the patience of Alec as he slowing makes a connection with The Black. Through the progression of the day, shown with a variety of shots of the sun, the audience senses the bonding of man and beast.

The beginning of The Black Stallion, a tale of companionship and survival, is told through a remarkable use of sound, action and facial expression rather then speech. Because of narrative, editing, cinematography, staging and sound, the audience understands the plot and the feelings of the characters. The amazing natural landscapes, the heroic tale of survival and the comradeship between the boy and the horse are what make this movie a classic worth seeing again and again.

Bibliography

Hogan, Kristen. “Short Guide to Film Analysis.” Fall 2004. 28 Sept. 2005.

The Black Stallion. Dir. Carroll Ballard. Perf. Kelly Reno, Mickey Rooney, Teri Garr and Hoyt Axton. 1979. DVD.