The Black is Back
The latest movie made for IMAX theaters, The Young Black Stallion, is Disney's prequel to the enchanted 1979 picture The Black Stallion and, as an IMAX release appropriate for children, it's marvelous. Just don't expect it to come close to matching the brilliant, beautifully photographed original, or its entertaining sequel, 1983's The Black Stallion Returns.
Like most IMAX movies, Young Black Stallion is short and, like most Disney pictures, sweet. Beginning shortly after World War II with a scene in which the Black, as he's affectionately known, is born in the North African desert, director Simon Wincer (Free Willy) quickly introduces Biana G. Tamimi as Neera, an Arab girl with a mind of her own.
Neera can ride like the wind and, after becoming lost in the sands, she is met by the young, mysterious stallion. It's not long before she's riding him. Neera eventually finds her way to her wealthy grandfather's house—which has been raided during the war—and she devises a horse-racing plan to restore his stolen property. Facing a corrupt horse trader (Gerard Rudolf) and a barbaric thief (Ali Al Ameri) who also rides, Neera is accompanied by her best friend Aden (Patrick Elyas) and her grandfather (Richard Romanus).
The plot drags but the action picks up with a heart-thumping horse race that puts Star Wars' CGI-driven pod race to shame. Using real riders and horses, crisp sounds of stampeding hooves and stunning photography—including exquisite aerial angles during the race—Wincer employs the team that provided Seabiscuit with its exciting racing scenes to create a fulfilling conclusion.
Those who saw the original Black Stallion movies—with memorable Kelly Reno quivering at the sight of the imposing animal or with Vincent Spano as an Arabian prince—are likely to be let down.
Young Black Stallion lacks the original's sense that the child is in peril, and its safeness robs it of a stronger bond between child and horse. The Black's scenes are too brief and the story—based on Walter Farley's unfinished novel, later completed by his son, Steven—is skimpy. Such a promising and profitable franchise deserves a better, longer prequel than Disney provides.
Still, at a time when children's movies are dominated by late-night cable's brand of raunchy humor, Tamimi's intelligent, athletic girl is an affable alternative and her Young Black Stallion kicks up enough sand to break into a glorious gallop.
Like most IMAX movies, Young Black Stallion is short and, like most Disney pictures, sweet. Beginning shortly after World War II with a scene in which the Black, as he's affectionately known, is born in the North African desert, director Simon Wincer (Free Willy) quickly introduces Biana G. Tamimi as Neera, an Arab girl with a mind of her own.
Neera can ride like the wind and, after becoming lost in the sands, she is met by the young, mysterious stallion. It's not long before she's riding him. Neera eventually finds her way to her wealthy grandfather's house—which has been raided during the war—and she devises a horse-racing plan to restore his stolen property. Facing a corrupt horse trader (Gerard Rudolf) and a barbaric thief (Ali Al Ameri) who also rides, Neera is accompanied by her best friend Aden (Patrick Elyas) and her grandfather (Richard Romanus).
The plot drags but the action picks up with a heart-thumping horse race that puts Star Wars' CGI-driven pod race to shame. Using real riders and horses, crisp sounds of stampeding hooves and stunning photography—including exquisite aerial angles during the race—Wincer employs the team that provided Seabiscuit with its exciting racing scenes to create a fulfilling conclusion.
Those who saw the original Black Stallion movies—with memorable Kelly Reno quivering at the sight of the imposing animal or with Vincent Spano as an Arabian prince—are likely to be let down.
Young Black Stallion lacks the original's sense that the child is in peril, and its safeness robs it of a stronger bond between child and horse. The Black's scenes are too brief and the story—based on Walter Farley's unfinished novel, later completed by his son, Steven—is skimpy. Such a promising and profitable franchise deserves a better, longer prequel than Disney provides.
Still, at a time when children's movies are dominated by late-night cable's brand of raunchy humor, Tamimi's intelligent, athletic girl is an affable alternative and her Young Black Stallion kicks up enough sand to break into a glorious gallop.
