They Shoot Horses, Don't They? (1969)
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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. 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."
Gig Young received many positive reviews for his portrayal of the Machiavellian
director of the Dance Marathon. There is complexity to his characterization. On
one level he is just a manipulating pitch man, doing whatever it takes to stay
afloat in the Depression era. But once in a while you see a slight tremble of
sympathy for the losers he manipilates both in front of the stage lights &
behind the scenes.
The real killer performance for me is song & dance man Red Buttons. He
plays an aging ex-sailor, passed over for promotion, probably discharged
without distinction. He still wears his sailor suit, probably as a sop for the
audience in the peanut gallery who throw pennies at the dancers who strike
their fancy. He is so pathetic in his willingness to do whatever he thinks it
will take to stay in the game--both on & off stage. His performance is
heart-breaking.
One of the more horrific scenes is when the dancers are forced to take part in
a roller skating race. Bruce Dern & Bonnie Bedelia are a young married
couple who are at the end of their rope financially like everybody else--except
she is pregnant. During the skating race the camera does facial close-ups as
the already exhausted players have to ratchet up the tension 100%. The faces of
Bedilia and Red Buttons are portraits in agony. She looks like she's
miscarrying & Buttons' character is, in fact, in the process of stroking
out.
The audience, of course, represents a strata of society that for the most part
is only a little better off than the dancers. Some are smug, others
patronizing. They can be seen as the liberals of the 70's--wanting to appear in
control & gracious, but whose inner realities were often murky, sometimes
condescending, always needing the veneer of progressive ideals & social
acceptance in order to mask less than altruistic motivations.
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THEY SHOOT HORSES, DON'T THEY? recalls to mind a Joni Mitchel song, THE
BANQUET:
Come to the dinner gong
The table is laden high
Fat bellies & hungry little ones
Tuck your napkins in & take your share
Some get the gravy
Some get the gristle
Some get the marrow bone
And some get nothing
Though there's plenty to share.
Review: JEFarrow
Updated 2/10
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