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They Shoot Horses, Don't They? (1969)

Plenty to Share?, February 15, 2010

Amazon.com essential video

In the dark years of the 1930s, dance marathons became popular as a way for desperate people to compete for prize money. Sometimes the events would drag on for weeks as contestants pushed themselves far beyond the point of physical, mental, and emotional exhaustion, the dancers shambling around the floor in a half-dead stupor. People would then pay to sit in the bleachers, watch the event, and cheer on their favorites. They Shoot Horses is taken from hard-boiled pulp writer Horace McCoy's novel of the same name; Jane Fonda plays a bitter young woman paired up with Michael Sarrazin for the ordeal. Gig Young portrays the unctuous MC of the event, bringing equal parts compassion and sleaze to his role. Many of the film's images are unforgettable, such as "the derby," a heel-and-toe race around the dance floor with bouncy, lighthearted music to accompany the miserable spectacle. It's a powerful, tragic period piece that reminds us of the privations of the Great Depression. In the largest sense, the film has existential overtones that go far beyond the story of enervated dancers staying on their feet for a month or more. This film brought home a string of Academy Award nominations for the cast and director Sydney Pollack and a win for Young. --Jerry Renshaw

Product Description

Nominated* for nine Academy Awards(r), this vivid (Cue), fascinating (Leonard Maltin) film stars Oscar(r) winner** Jane Fonda as a woman driven to seize her last best chance during the very worst of times. A brilliant (LA Herald-Examiner) achievement by director Sydney Pollack, it is a stunning period piece (Variety). In Depression-era America, desperation spawned a bizarre fad: the dance marathon. Couples competed to stay on their feet for thousands of hours, and audiences flocked to watch. But Gloria (Fonda) doesn't think of herself as a spectacle. She is a fierce, unforgiving contestant in a battle she's determined to win. At stake is much more than the $1,500 prize. The marathon is her only hope for dignity, accomplishment and salvation. *1969: Director; Actress (Jane Fonda); Supporting Actress (Susannah York); Supporting Actor (Gig Young, won); Adapted Screenplay; Art Direction; Costume Design; Editing; Musical Score.

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THEY SHOOT HORSES, DON'T THEY? was first released near the end of the 60's era of social revolt. The pre-revolutionary, Anti-War, Feminist ideals were co-opted by a slick Liberalism. This atmosphere was well expressed in the witty, Norman Lear television concoctions like "Maud," "The Jeffersons" and "All in The Family." These shows had their moments of high hilarity--and, more importantly, they helped usher in a more racially integrated & aware entertainment media. As good as they might be, there was an uncomfortable, unreality to the shows. The more they tried to tie in "socially relevant" themes, the more artificial they appeared. From a Left of Center perspective, viewing "Maude" today is a little embarrassing.

The world of cinema fares better in retrospection. It was the era of the European "Art House" film, and many of these movies have survied the test of time. The American THEY SHOOT HORSES is very much in that tradition--with a strong flavor of Hollywood, of course. Jane Fonda was riding a wave of popularity at the time, and taking the role of Gloria, the down-on-her-luck, hard times girl posed a challenge--one that she was up to taking on. Gloria is an anti-heroine. She has been beaten down so long her consistent negative view of reality is almost funny. When she finally realizes just how hopeless & really terrible her situation is, she just spits out "Perfect."