For nearly the first hour, not more than a few pages of dialogue are spoken. Yet the camera is able to tell a complicated narrative as well as evoke powerful emotions with nothing but pure visuals. The scenes that establish the emotional relationship between the 10 year old protagonist and his equestrian soul-mate not only move the story along, but provide us with some of the most stunning visuals I have ever seen on film. It recalls the powerful visuals of films like 2001: A SPACE ODYSSEY and NANOOK OF THE NORTH.

Then there is the mind-boggling riding stunts, if they are stunts that leaves one staring in wonder at what the young actor is doing right before our eyes. As far as I could tell, and it was the consensus of everyone who saw this film with me, there were no trick shots and no stunt doubles. The camera is too close and it is obvious that what we are seeing is real. Without giving much more than that away (because these sequences really need to unfold before you with no foreknowledge),it is enough to say that the first half of the film could stand alone as a complete work. Coupled with Carmine Coppola's exquisite score that matches every subtle turn of feeling with every scene, the picture is a joy to behold. A sequence with choreographed movement underwater is nothing short of an incredible ballet. How this film did not wind up on every one of those silly "top 100 films of all time" lists, I cannot fathom. How it did not win a multitude of Academy Awards is a mystery. Caleb Deschanel's cinematography is simply breathtaking.

The second half is no less a pleasure, but as the studios are wont to dictate, a story in the age of MTV and LETHAL WEAPON 16 cannot remain subtle and esoteric -- it can't be simply about the powerful bond between friends, boy and horse, man and boy....trust between creatures beyond words and definitions. So there is conflict, action and a race; the tension that makes for exciting storytelling, yet the rich emotional texture that is achieved even without these more mundane fixtures still dominate the work. And I must add, those more spiritual qualities surprisingly are not diminished by the action sequences but remain the dominant elements of the film's power-of-the-whole. And where there is dialogue, much to director Ballard's credit, it is kept sparse, it's not strained but is quite believable. Even Mikey Rooney, who could have been any director's worst nightmare, turns out a touching performance.

This is a film that marries every element perfectly -- from the music to the photography to the precision editing to an improbable performance from such a young actor. The loudest kudos must go to the young Kelly Reno who turns out a performance that rivets you from the first scene to the last with its power and simplicity.

This is not just a good film -- this is a masterpiece; it's what cinema is all about. And of course the only way to see it is in a theatre on a large theatre screen, NOT on a 19in TV set. Even DVD is more like a xerox copy compared to the definition that a 35mm print provides. If there is an art cinema near you, go to the director and plead with him/her to book this gem. Bring your kids or your nieces and nephews -- the younger generation needs to see what real film-making is all about. And powerful statements about trust and friendship and personal strength wouldn't hurt them either.

I saw this movie when I was a child, but I didn't appreciate it as much as I do now. This movie was absolutely beautiful, it made me cry at the end because it was so moving. And I can't write this review without mentioning the visuals, they were simply stunning and that isn't a strong enough word to describe how blown away I was by the. Beautiful cinematography, a brilliantly executed storm scene and beautifully shot desert island scenes are definite things to like, and while the training and racing scenes have been done before they were done with so much energy and enthusiasm you are past caring. The music score is gorgeous as well, beautiful, melancholic, heart-rending but with a sense of adventure as well. The script is beautifully written, and there is a heart warming and ever so touching story in which a small boy trains a horse he rescued from the shipwreck. The acting is really good as well; Hoyt Axton is very good as the father and Mickey Rooney earned a well-deserved Oscar-nomination for his performance as the has-been trainer, but it is 11-year old Kelly Reno and the horse Cass-ole who steal the show just by their innocence and bonding scenes. Every moment they share on screen is simply magical. Overall, a true delight, a must see if you love visually stunning movies, I certainly do. 10/10 Bethany Cox

The Black Stallion is one of those boy and a horse stories that Hollywood used to make a lot of. Fittingly it's set in the more innocent times of 1946. In many ways it's a souped up version of the old television series Fury. Also the story of a Black Stallion and the boy who loved him.

Young Kelly Reno and his father Hoyt Axton are on a cruise ship in the Mediterranean Sea when it goes down with all hands save for Reno and a black horse. Both make it to an island and it's on that island which takes up about a quarter of the film running time where the two bond. Little dialog if any, but some beautiful music showing the kid spearing for fish to survive and the horse running magnificently on the beach.

When they make it back to the States young Reno and The Black Stallion have the good fortune to run into Mickey Rooney former jockey and horse trainer and that itself is a tale I won't tell. Rooney tells him though the horse has speed he has no pedigree, no papers from the Thoroughbred Racing Association. Still Rooney as always is resourceful and the two do find a way to make The Black Stallion a cash cow.

The Black Stallion afforded Mickey Rooney a last chance at some Oscar recognition with a nomination for Best Supporting Actor. No longer the fresh kid of his salad days Rooney is now a bald wizened old man who is touching as the former racetrack denizen who reaches for glory one more time. He, Reno and the horse have some wonderful scenes together.

The Black Stallion, a wonderful family film that still holds up well after almost 40 years.