Based on the novel by Horace McCoy, They Shoot Horses, Don’t They? is the story of a people trying to win a dance marathon during the Great Depression with a power-hungry emcee urging them to continue. Directed by Sydney Pollock and screenplay by Robert E. Thompson and James Poe, the film is a study of people who are desperate to win this dance marathon in the hope of winning $1,500 during a troubled time where people are clinging to hope. Starring Jane Fonda, Michael Sarrazin, Susannah York, Bruce Dern, Bonnie Bedelia, Red Buttons, and Gig Young. They Shoot Horses, Don’t They? is a harrowing and evocative film from Sydney Pollock.
The film revolves around a dance marathon during the Great Depression where a group of people attend the marathon in the hopes of winning $1,500 and a better life as they also hope to win the audience. Yet, it’s a marathon that goes on for days and days where it becomes a troubling image of exploitation where people try to stay away and move just to win money. The film’s screenplay by Robert E. Thompson and James Poe has this narrative that features what could be flashbacks or something as it relates to the character Robert Syverton (Michael Sarrazin) who walks into the La Monica Ballroom on the Santa Monica Pier accidentally where this marathon is to begin. Syverton is chosen to partner up with the cynical Gloria Beatty (Jane Fonda) whose original partner is unable to participate due to bronchitis. Other participants including an elderly sailor named Harry Kline (Red Buttons) who is joined by his partner Shirl (Allyn Ann McLerie), the aspiring actress from London in Alice (Susannah York) with her partner in another struggling actor in Joel (Robert Fields), and a farming couple in James (Bruce Dern) and his pregnant wife Ruby (Bonnie Bedelia).
The first act is about the marathon and everything that happens as it is overseen by its emcee Rocky Gravo (Gig Young) who is hoping to make money out of this marathon as the dancers would get sponsorship to keep on dancing hoping they would win. Yet, Gravo has something sinister in making people attend everything and to see who drops out and who stays on that would also include breaks but also the terrifying race around the dancefloor for a period of time where the last three couples are eliminated. It adds to the drama with Beatty wondering why some of these people are there including the pregnant Ruby as she would often question herself. Syverton, who is a reluctant participant, observes everything that is happening as he would also have flashbacks on his childhood while getting some unwanted attention from Alice.
Sydney Pollock’s direction does bear a lot of style as it is shot largely in a soundstage with a few of the exteriors shot at the Santa Monica Pier as much of the film is set in this ballroom. Pollock’s usage of wide and medium shots to get a scope of the entire ballroom is immense yet it is his usage in the latter and close-ups that add to the drama that occur. Notably as much of the action occur is in the ballroom with a few breaks in these rooms where the contestants rest for a where some of the drama occur with Beatty looking around the other women with an air of disdain. Pollock maintains something straightforward in those scenes while including a few strange recurring images of fields as it relates to Syverton as he is seen being interrogated. The behind-the-scenes moments involving Gravo showcase a man who is doing whatever he can to make money and to make the show more interesting so that the people attending this marathon can watch people suffer.
The two scenes involving the race around the dancefloor is definitely the most intense where Pollock doesn’t show the craziness of this moment but also this growing idea of inhumanity as these people are trying to walk around an entire lap and make sure they’re not eliminated. The ones who drop on the floor showcase the horror of these races while the moment they’re dancing and could barely move also add to this inhumanity. Most notably in the third act where Beatty and Syverton briefly break-up and be with other partners as it adds to the growing chaos where they both learn that there’s a lot more at stake. Even as Gravo continues to stir the pot and hope that there’s a winner yet it adds to this growing cynicism that Beatty has as well as revelations for Syverton about the world in general. Overall, Pollock crafts a riveting yet chilling film about a group of people trying to win a dance marathon during the Great Depression.
Cinematographer Philip H. Lathrop does brilliant work with the film’s cinematography with the usage of sepia-like color for a few stylish shots in the flashbacks as well as gorgeous approach to lighting for many of the interiors including low-key natural light for the scenes where the contestants rest. Editor Fredric Steinkamp does amazing work with the editing where it knows when to be straightforward in the dramatic moments while the racing scenes has this air of chaos in its fast cuts as well as bits of slow-motion for dramatic effect. Production designer Harry Horner and set decorator Frank R. McKelvy do excellent work with the look of the dancehall and its many interiors as well as the way the floor is re-painted for the racing scenes. Costume designer Donfeld does fantastic work with the costumes as it play into the period of the times as it includes the gorgeous gown that Alice wears that later goes into ruins to the sweats some of the people wear during the racing scene.
Makeup artist Frank McCoy, along with hair stylists Sydney Guilaroff and Ina Claire, does terrific work with the look of the characters as they sweat and become sleep-deprived while Guilaroff does the look of Beatty and Claire doing the look of Alice. The sound work of Tom Overton is superb for the atmosphere it maintains in the way the crowd sounds as well as how music is presented from afar as well as the sounds of the sea heard from the outside of the building. The film’s music is a wonderful mixture of standards of those times as it adds to the atmosphere while being a major highlight of the film.
The casting by Lyn Stalmaster, James Martell, and Jack Roberts is incredible as it feature some notable small roles from Art Metrano as a dancer who collapses during the first race, Madge Kennedy as an old lady who sponsors Beatty and Syverton, Allyn Ann McLerie as Harry’s partner Shirl, Robert Fields as Alice’s partner in aspiring actor Joel, Al Lewis as Gravo’s right-hand man Turkey, and Michael Conrad as one of the event’s organizers in Rollo. Bruce Dern and Bonnie Bedelia are fantastic in their respective roles as the traveling couple James and Ruby Bates who have done dance marathons before but they’re facing a bigger challenge with the latter being pregnant as the former tries to be supportive but also defensive towards Beatty’s cynical remarks. Red Buttons is excellent as the sailor Harry Kline as an old war veteran eager to win some money as he befriends some of the dancers while dealing with the intense challenges of staying up as well as the race itself.
Susannah York is brilliant as Alice LeBlanc as an actress from London eager to get some attention from talent scouts to appear at the marathon only to deal with stolen items, envy, and other issues as she starts to become fragile. Gig Young is amazing as Rocky Gravo as the organizer and emcee of the marathon who does whatever he can to sell tickets and make money while also playing a devious game of torturing people in the hope he can make some money as it’s a charming yet devilish performance. Michael Sarrazin is incredible as Robert Syverton as a man who accidentally walks into the ballroom where he reluctantly becomes Beatty’s partner as he deals with the chaos around him while in some strange images recounts some things in his life as it’s an understated performance from Sarrazin. Finally, there’s Jane Fonda in a phenomenal performances as Gloria Beatty as a woman eager to win by any means necessary while dealing with the physical, emotional, and mental torment of her desire to win hoping it’s one last chance at doing something where Fonda brings that biting cynicism to play a woman that has lost a lot of hope and is clinging to that last semblance of hope as it is one of Fonda’s quintessential performances.
They Shoot Horses, Don’t They? is a tremendous film from Sydney Pollock that features a great performance from Jane Fonda. Along with its supporting cast, eerie setting, study of human nature and exploitation, and gorgeous visuals. The film is definitely an engaging period drama set during the Great Depression that explore what people are willing to do win money during a dark time in history as well as the lows they have to endure with some trying to milk it for all of its worth. In the end, They Shoot Horses, Don’t They? is a spectacular film from Sydney Pollock.
Sydney Pollock Films: (The Slender Thread) – (This Property is Condemned) – (The Scalphunters) – (Castle Keep) – (Jeremiah Johnson) – (The Way We Were) – (The Yakuza) – (Three Days of the Condor) – (Bobby Deerfield) – (The Electric Horseman) – (Absence of Malice) – Tootsie - (Out of Africa) – (Havana) – (The Firm) – (Sabrina (1995 film)) – (Random Hearts) – (The Interpreter) – (Sketches of Frank Gehry) – (Amazing Grace (2018 film))
© thevoid99 2020
Based on the novel by Nothing Lasts Forever by Roderick Thorp, Die Hard is the story of a NYPD officer who travels to Los Angeles to meet his estranged wife at an office party where a group of terrorists has taken over the building forcing the officer to take on these men by himself. Directed by John McTiernan and screenplay Steven E. de Souza and Jeb Stuart, the film is an action film set in a high-rise building in Los Angeles where a regular NYPD officer has to take on a group of highly elite criminals inside the building as the role of John McClane is played by Bruce Willis. Also starring Bonnie Bedelia, Reginald VelJohnson, Alexander Godunov, William Atherton, Paul Gleason, Hart Bochner, and Alan Rickman as Hans Gruber. Die Hard is an ass-kicking and thrilling film from John McTiernan.
Set during the Christmas holidays, the film revolves around a simple and no-nonsense New York City police officer in John McClane who arrives to Los Angeles to visit his estranged wife Holly (Bonnie Bedelia) at the Nakatomi building in the city where an office party is crashed by a group of elite terrorists led by Hans Gruber. For McClane who was able to hide from the festivities, he realizes what needs to be done to save his wife and many other people in the building. Especially as McClane would kill a few bad guys to get the attention of the LAPD and later the FBI as he would have to do everything while not wearing shoes. It’s a film that has a simple premise that is quite typical of action-based suspense-thrillers but what makes it so much more than that aren’t just the characters but also the situation itself and what goes on in and outside of the building.
The film’s screenplay definitely strays away from some of the conventions that is expected in action films largely due to the characters that are created. John McClane is a simple police officer who is good at his job despite being a bit reckless as he knows what to do when trouble emerges. Plus, he’s someone that is very quick-witted and sort of imagines himself as a cowboy because he stands for what is right in the world. In Hans Gruber, McClane finds the perfect opponent as Gruber is a man that is the epitome of highly-elite Euro-trash that can deliver great speeches and knows how to be intimidating. Even as he can do all sorts of negotiation and such to get what he wants when he is really a thief that just wants to steal a shitload of money with his organization. Once he and his group have to deal with McClaine, they realize that they’re messing with someone who is a very unlikely opponent that they’re underestimating. At one point, Gruber would encounter McClane where he pretends to be an office worker who had escaped from the melee.
The script also plays into action outside of the building where McClaine kills a terrorist and uses a walkie-talkie to talk to the LAPD officer Sgt. Al Powell (Reginald VelJohnson) who would be his only contact outside of the building after a dead terrorist’s body was dropped on Powell’s car. The script would also have moments of humor as it relates to the LAPD deputy chief Dwayne T. Robinson (Paul Gleason) who tends to say stupid things as he has no clue what he’s doing to handle the situation. Plus, there’s two FBI agents both named Johnson (Robert Davi and Grand L. Johnson) who would take over only to really make more of a mess of things which only motivates McClane to do what is right. Another subplot that is added to the film involves a news reporter in Richard Thornburg (William Atherton) who wants to get the scoop as he would also jeopardize the life of Holly who has been using her maiden name so that Gruber wouldn’t know who she really is. All of which does play into McClane not only saving his wife and her co-workers but also uncover exactly into what Gruber and his goons are trying to do.
John McTiernan’s direction is definitely engaging not just for the intimacy and air of suspense that he puts in his approach to action sequences but balance it with drama and humor. The film does start off as a comical and enjoyable film where McClane meets his chauffer Argyle (De’voreaux White) as McClane would attend this office Christmas party where his wife his at as it establishes what is going on and why McClane is there. Then comes Gruber and his gang where it has this edge into what is going to happen where McTiernan’s use of wide and medium shots come into play to showcase the action. Especially where McTiernan creates some unique camera angles in some eerie set pieces including a scene where McClane hides in a vent where there’s some very funny remarks that McClane makes. The usage of high and low angles help play into the suspense as well as the scenes where the terrorists battle it out with the LAPD where it shows how efficient and professional these guys are. When they face McClane, they really underestimate how good McClane is when he’s armed with machine guns and explosives.
The action sequences are definitely extravagant which does involve lots of explosions and gunfire as it adds to the sense of chaos that emerges where McClane has to not just face these terrorists but also authorities who have no clue what they’re doing with the exception of Sgt. Powell who is also a no-nonsense cop. McClane’s conversations with Powell not just add elements to the drama but also play into the fact that these are two men who play by a set of old-school rules while dealing with men who play by a new set of rules. All of which leads to an explosive climax that involves McClane and Gruber as it plays into McClane’s own sense of fantasy of being a cowboy doing what is right for a world that is becoming very complicated and messy where people have their own agendas rather than do something good for the world. Overall, McTiernan creates a truly riveting and exhilarating film about a simple NYPD taking on a group of highly-elite bad guys.
Cinematographer Jan de Bont does excellent work with the film‘s nighttime cinematography for its exteriors while using some unique lighting schemes and mood to play into the interior settings as well as the air of suspense. Editors John F. Link and Frank J. Urioste do brilliant work with the editing with its usage of rhythmic cuts to play into the action while slowing things down for the suspense and dramatic moments. Production designer Jackson de Govia, with set decorator Philip Leonard and John R. Jensen, does amazing work with the look of the Nakatomi building interiors including its main office hall where the party is at as well as the other parts of the building. Costume designer Marilyn Vance does nice work with the costumes from the suit that Gruber wears to the more casual look of McClane. Sound editor Richard Shorr does fantastic work with the sound to play into the layers of gunfire and explosion that occurs in the building. The film’s music by Michael Kamen is superb for its bombastic orchestral score and flourishing string arrangements to play into the sense of excitement while its soundtrack features some classical pieces as well as holiday songs including a future classic by Run-DMC.
The casting by Jackie Burch is incredible as it features notable small roles from Lorenzo Caccialanza, Al Leong, Andreas Wisniewski, and Dennis Hayden as some of Hans’ henchmen, Taylor Fry and Noah Land as John and Holly’s children, De’voreaux White as McClane’s young and witty limo driver Argyle, Clarence Gilyard as Gruber’s hacker Theo, Hart Bochner as the sleazy and idiotic Nakatomi executive Ellis, and James Shigeta as Holly’s boss Takagi whom Gruber would target into trying to give him the code for the vault. William Atherton is terrific as the arrogant news reporter Richard Thornburg who is willing to do anything to get a story as he would blackmail his way to get information about John McClane in order to exploit his family. Paul Gleason is superb as deputy chief Dwayne T. Robinson who tends to say idiotic things in his attempt to get control only to screw things up. Robert Davi and Grant L. Bush are fantastic as the FBI agents Johnson as these two men who arrive only to screw things up for McClane and unknowingly give Gruber what he wants.
Reginald VelJohnson is excellent as Sgt. Al Powell as a straight-laced cop who would have an encounter with the terrorists as he would aid McClane through walkie-talkies about what he’s facing. Alexander Godunov is brilliant as Hans’ lead henchman Karl who wants McClane dead after McClane killed his younger brother as he is a very menacing man. Bonnie Bedelia is amazing as McClane’s estranged wife Holly who takes charge for her co-workers as she is able to talk to Gruber while worrying if her husband can still get things through. Alan Rickman is magnificent as Hans Gruber as it’s a performance for the ages where Rickman really showcases some charm and wit to his character but is also a very cunning antagonist that exemplifies the idea of Euro-trash as it’s a real breakthrough for Rickman. Finally, there’s Bruce Willis in an incredible performance as John McClane as it’s a performance that has Willis be the everyman as someone that is just trying to do his job as a cop. Especially as he isn’t the most agile guy as he has to do everything while being barefooted as it’s really an iconic performance for Willis.
Die Hard is an absolutely sensational film from John McTiernan that features great performances from Bruce Willis and Alan Rickman. The film is without question one of the pillars of what action films should be as well as giving audiences something more by creating characters audiences can root for as well as a villain that manages to be so fun to watch. It’s the kind of film that manages to do more for its genre while also being a fun film to watch during the Christmas holidays. In the end, Die Hard is a phenomenal film from John McTiernan.
John McTiernan Films: (Nomads) - (Predator) - (The Hunt for Red October) - (Medicine Man) - (Last Action Hero) - (Die Hard with a Vengeance) - (The 13th Warrior) - (The Thomas Crown Affair (1999 film)) - (Rollerball (2002 film)) - (Basic)
Die Hard Films: (Die Hard 2) - (Live Free or Die Hard) - (A Good Day to Die Hard)
© thevoid99 2015
Based on the novel by Horace McCoy, They Shoot Horses, Don’t They? is the story of a people trying to win a dance marathon during the Great Depression with a power-hungry emcee urging them to continue. Directed by Sydney Pollock and screenplay by Robert E. Thompson and James Poe, the film is a study of people who are desperate to win this dance marathon in the hope of winning $1,500 during a troubled time where people are clinging to hope. Starring Jane Fonda, Michael Sarrazin, Susannah York, Bruce Dern, Bonnie Bedelia, Red Buttons, and Gig Young. They Shoot Horses, Don’t They? is a harrowing and evocative film from Sydney Pollock.
