Phonearl Good start, but then it gets ruined

BroadcastChic Excellent, a Must See

Infamousta brilliant actors, brilliant editing

Solidrariol Am I Missing Something?

HotToastyRag During the Great Depression, participating in dance marathons was a very popular activity. Couples would enter and dance nonstop for hours, days, weeks, or months, and audiences would flock to watch and cheer on their favorite team. The winning couple would receive some prize money, and in the meantime, the contestants would be fed and sheltered for as long as they endured. If you've never heard of this, or you're not up on your 1930s history, you might want to read up on the horrors of the Great Depression before renting They Shoot Horses, Don't They? If you don't really understand how desperate and hopeless these dance contestants felt, you might not be able to appreciate Robert E. Thompson's and James Poe's screenplay. The characters in the film act like condemned gladiators who will do anything to entertain the crowd before getting thrown into the lion's den. They stay on their feet no matter the cost, whether it's their health or dignity. They sleep while dancing, leaning on their partners, and one woman enters the contest while pregnant because she has no other prospects.They Shoot Horses, Don't They? is incredibly bleak. There are no happy parts to the story; this isn't a two-sided view of the famous walkathons of the Great Depression. The camera captures the up close and personal horrors the contestants experience, backstage and in front of the audience cheering in the stands. The audience is shown cheering when horrible things happen to the dancers; they treat them like animals in a horse race. Sydney Pollack directed the movie, and while it would have been easy to film it in a sensational, flashy manner, he chose a bleak approach. The colors are muted and dusty against the cheery façade of the event, and the sweaty and haggard faces show through the performance makeup.Jane Fonda, Michael Sarrazin, Susannah York, Red Buttons, Bruce Dern, Robert Fields, and Bonnie Bedelia are the featured dance contestants, and Gig Young is the MC. Everyone gives a superb performance, and Fonda, York, and Young were honored at the 1970 Oscars. Sydney Pollack was also nominated for his outstanding direction, as were the costumes, art direction, adapted screenplay, music, and editing. I've seen this film three times, but it isn't for everyone. It's extremely heavy and upsetting. But if you like movies that fall under the "people are terrible" mantra, like Network or The Great Gatsby, you'll be in a good position to appreciate this well-crafted film.Kiddy warning: Obviously, you have control over your own children. However, due to some upsetting content, I wouldn't let my kids watch this movie.

ElMaruecan82 Watching Sidney Pollack's "They Shoot Horses, Don't They?", it is impossible not to think of reality shows and their piles of human souls desperate for success' shortcuts. Indeed, whenever there will be depression and desperation, such shows will exist. The only difference is that during the Great Depression, when Horace McCoy wrote the novel, there was no screen between the audience and the contestants, a thinner progress than the fact that, contrarily to Rome's gladiators, contestants didn't kill each other, though they seriously jeopardized their physical and mental health.The film centers on a Dance Marathon, one of the 30's crazes, set in a West Coast ballroom, the concept is so vicious that you wonder why sensitive people would go to such extremes. From a 2010's standpoint, it makes sense as there's no difference between this and programs like "Survivor" or "Fear Factor", and no more between the charismatic Master of Ceremony, played by Gig Young and a TV host who displays hypocritical empathy toward contestants while developing new tricks to increase their suffering. Watching Young's Oscar-winning performance, we wonder whether we should despise his cynicism or enthusiastically respond to his repeated "Yowsa!" Young embodies the bittersweet appeal reality TV shows, something that is part of human nature to which German language found a word for: 'shadenfreude'. When someone falls or fails, we're somewhat glad to be in the comfortable viewer's side. We don't like other people's successes, but any sight of a human being in a less favorable position is most welcome. That's how depressing a depression is, when we can't feel better for our own achievements, we do it by proxy, by enjoying someone's failure. Regarding the Dance Marathon, whoever will win the 1500 dollars prize will be less interesting than the dozens of delightful losers.Take the character Alice, played by Susannah York, she's a young actress coming with her partner, together they expect to catch the eye of a director. Alice is like today's wannabe Cyrus or Kardashian who don't believe in bad publicity and think fame precedes artistic achievement. Later, Rocky reveals that he deliberately took her dresses and make-up, because she was spoiling the game by not looking messy and exhausted as she was supposed to be. He says about the audience that they "just want to see a little misery out there so they can feel a little better maybe." This revelation will come as a shock to Robert (Michael Sarrazin), an aspiring director who naively thought he was in a contest, rather than a show. Like in Ancient Rome, those who don't have 'bread and wine' make the 'circus' to the haves. Seriously, did he forget he was sponsored? There are also two tragic characters: Kline, an aging sailor, played by wonderful character actor Red Buttons, the WWI veteran knows the marathon and teaches a few tricks to Robert. And there's a pregnant Okie farmer's wife played by unrecognizable Bonnie Bedelia (she was John McClane's wife in "Die Hard"), and entrusted with more than she can cope with, and nor her husband (Bruce Dern) or the doctors or Rocky think that she might endanger her kid's life or her own. The sight of this little heavy-loaded women forced to run that awful ten-minute derby is one of the most disturbing sights of the movie along with Kline's death, desperately dragged by Gloria Betty (Jane Fonda) till the finish line.The power of Pollack's directing is to switch from the contestants' perspective to Rocky's (and his partner played by Al Lewis). For instance, you see the participants groaning at the derby's white lines being painted and then you see the puppet masters of this tragicomedy, and you wonder why these people who can leave at any time let their health and sanity being sucked out by these heartless bastards in tuxedos. The reason is simple: the two points of view never meet, except for Robert and Gloria. And all naturally, they leave the show. When Gloria learns that the winner will pay the expenses, that's too much to accept, she understands that "the whole world is like central casting. They got it all rigged before you ever show up." As Gloria, Jane Fonda is the soul of the story, a perpetually malcontent woman whose participation was the last string on which to hang her faith on life. But while the film is mainly focused on Fonda, it starts with flashbacks from Robert's childhood - one involving a beautiful black stallion, falling and then mercilessly put out of his misery- and then it's punctuated with images of Robert being arrested and interrogated for what seems to be a murder. I thought that (accidentally) knowing Gloria would die, would spoil my enjoyment. As a matter of fact, from the title to the poster, and the arrest scenes, we understand that it's a matter of time before the contest finally get the most of her, and makes her death inevitable.This is not depression as an Era, or as the disillusioned New Hollywood movies that provided the great unequaled masterpieces of American cinema, but plain and bleak 'state of mind' depression. It's like a feeling of psychological claustrophobia in an agoraphobia-inducing world, too many people and not enough souls to reach or reach yours. The ball-room, with all its flashiness and shiny floor, is the extraordinary metaphor of this Depression, however you define it. And Fonda conveys her sadness so convincingly that we no longer feel sorry for her when Robert pulls the trigger. As he says to the disbelieving cops: "they shoot horses, don't they?". Gloria didn't break her leg though, only her spirit, and that's something you can't recover from."They Shoot Horses, Don't They?"is one of the most depressing movies I saw, even more because it hasn't lost one ounce of relevance, proving that History keeps repeating itself, staged by the worst of human nature. What an exhausting depressing, haunting and unforgettable movie!

lasttimeisaw Sydney Pollack's pungent film adaptation of Horace McCoy's 1935 novel about a dance marathon contest during the Depression-era - the ultimate test of energy and endurance, which blurs the line between competition and reality show. The various contestants spurred by the 1500$ reward, push their strength and fortitude to the limits, little they know, they are merely dispensable pawns to attract audience, since the mass needs something they can believe in in that particular era, and clearly, watching other people in suffering and bad shapes is a massively effective way to achieve that, what a sadistic revelation! Also the film has an unflinchingly bleak ending can give a gut punch to first-time viewers who are unfamiliar with the source novel. The main players in the game are Gloria (Fonda), a cynical, embittered woman whose intention to become an actress has never materialised, randomly paired with Robert (Sarrazin), a wide-eyed (literally) young man who is aimless wandering around; Harry Kline (Buttons), a middle-aged sailor with his partner Shirli (Ann McLerie), British aspiring actress Alice (York) and her partner Joel (Fields), a young farmer James (Dern) with his pregnant wife Ruby (Bedelia), yes, no possible sick people allowed but a pregnant woman, welcome on board! The contest is hosted by a veteran emcee Rocky (Young), who represents the ruthless rules-maker and exploiter of the poor participants. Barely a dance competition, the entire extravaganza is an overlong battle against sleep deprivation, more heart-tugging scenes are deployed when a so-called derby is introduced, forces each pair to race in circles for 10 minutes non-stop and the last three pairs are automatically eliminated, how barbarian is could be? People die in progress, we are no more civilised than the ancient Romans who are hailing for gladiators' slaughtering, or worse, since hypocrisy even masks the tragic event with uplifting spirits, how messed-up and phony USA was at then? The film does bespeak Pollack's true grit in making this magnificent social critique. Thus, one can much appreciate the unexpected ending, Gloria tries very hard to comply to the rules, but the overwhelming futility of life - the overt metaphor of the marathon, waylays her with such irreconcilable disappointment, the pathos is sudden but perfectly justified at that moment when she makes that crucial decision, Fonda receives her first ever Oscar- nomination for her affecting portrayal of a woman who has nothing to live for and simultaneously is a soul full of vehemence, two-thumbs up! Gig Young won the only Oscar among the film's overall 9 nominations (it still holds the record as the most nominated one sans a BEST PICTURE nomination), a qualified win for his outward showmanship and the script doesn't forget to let slip his own monologue of what is made of his callous personality. York is also Oscar-nominated, and her final exit performance is so stunning, when she showers with her full dress on, after witnessing a sudden death, the horror finally overtakes her mentally, she is that scene alone should win her the golden statute which she deserves. Red Buttons, a showbiz triple-threat, previous Oscar-winner, also impresses with his physical endeavour in the derby races.Last but not the least, Sarrazin, with his trademark big, soulful eyes, is left unheralded, his Robert is so different from the hero image required for a leading man at that time, however his bashful, effeminate persona is so spot-on for the role, in contrast with a sharp-tongued and spitfire Fonda. He is the one granted with an opening flashback, as a young boy witnessing a horse being shot after breaking a leg (and the one who articulates the profound title in the coda) and flash-forward sequences (which viewers will only realise near the end) of being interrogated for an unspecified crime, Sarration is so unassuming and non-threatening against the whole backdrop of competition and dissatisfaction, his innocence is the last straw of hop in the story, which albeit hasn't been shown on screen, will be harshly stripped of in audience's mind picture, again, one should truly admire the courage of the filmmakers here, all the wistful tunes, big band rollicking aside, the film can blow you away for its uncompromising reprimand of what a degraded world we are living and a high point in Pollack's just burgeoning career.

Rockwell_Cronenberg In They Shoot Horses, Don't They?, an extensive dance marathon slowly turns into a brutal exploration of the human spirit. Just about the entire film takes place within the confines of one building, the setting for the marathon lasting weeks, with a group of varied characters coming together in an attempt to outlast the rest for the grand cash prize. It's an interesting premise and has been used several times, mostly for comedic purposes, but the idea of it holds so much dramatic potential. Playing it for comedy would be easy, but the script by James Poe and Robert E. Thompson, adapted from a novel by Horace McCoy, goes for the harsh reality of it all and what comes out is a grueling, tragic display.The experience these characters put themselves through is torturous, always putting on a show for the crowd and at the mercy of the judges and Gig Young's announcer Rocky. It's like watching animals in a zoo, slowly being pushed down to their dying breath. The film provides an interesting social commentary in the way that the crowd starts off minimal, only a few spectators in the stands as the participants are relatively fresh and alert, but as the days go on and their hope dwindles the crowd grows and grows. They want to see the chaotic potential of the marathon, they want to see these human beings brought to their breaking point, and they get that in spades.Focusing on the young Robert (Michael Sarrazin) and Gloria (Jane Fonda), two loners who partner up for the contest, the film explores some dark themes through their experience of the contest and the downward spiral they are pushed through. There are flashes to Robert being arrested for an unknown crime that we see several times throughout the film, which provide an interesting look at his character and a curious mystery to try and decipher, but the primary focus of the film is on those themes of bringing a person to their breaking point and seeing what comes out as a result.The performances are uniformly strong, from the powerfully broken Fonda, to the borderline psychotic Susannah York, to the energetic and determined Red Buttons, but special note should be given to Young who is charismatic and malicious as the host of ceremonies but in his moments out of the spotlight presents a sort of bitter melancholy towards the world that adds another layer to his character. Pollack's direction here is understated but absolutely remarkable. He doesn't use a lot of flash or technique, but he seamlessly gives the film the sensation of it being a marathon itself. You can feel the days and weeks pressing on as they grow weaker, more tired and more hopeless.By the time the final act comes, the audience is in as much as a weary daze as the participants are. It all comes around to it's final sequence, which is tragic beyond the definition of the word. The revelations are powerful and finding out the true meaning of the title is a revelation for the ages. A strange, unique and utterly brilliant work.