Next week, American moviegoers will be treated to Steven Spielberg's majestic War Horse: the story of a horse named Joey who prevails through many World War I adventures to find his way back home to his best friend, young Albert Narracott (Jeremy Irvine)—the true testament to the fact that when you truly love somebody, even wild [something...] can't keep you from getting to them.
We have compiles a harras of War Horse clips in celebration of the feature film and all of its gallant glory. Enjoy the videos below and catch War Horse in theaters everywhere. You can also check out these two reviews of War Horse: one by our own Matt Patches, and one by the demonic rock band GWAR.
As it turns out, not quite everybody loves horses. When patriarch Ted (Peter Mullan) brings home Joey, his wife Rose (Emily Watson) is none too pleased with her husband’s purchase. But despite this domestic war, young Albert sees something in Joey. Perhaps…a friend.
In order to keep Joey, Albert must train him. Joey doesn’t seem ready to beckon to calls at first, but the passionate Albert gets through to him soon enough.
Fancy cars are an age-old way of impressing girls. But as Albert and Joey prove in this next clip, they’re no match for war horses.
Albert talks with Joey about a battalion flag that has been through an entire war. Little does Albert know, his own horse is about to have quite a similar adventure to tell of.
Things get a little heavy when Albert and Joey are forced to part ways. Captain Nicholls (Tom Hiddleston) is drafting Joey to war, but promises Albert that he will take supreme care of him.
As it turns out, ol’ Joey has some pretty impressive racing chops. It looks like this horse might be ready for war after all.
Joey finds his way through many lives during the course of the war—one of which is that of a young French girl named Emilie (Celine Buckens), who is bent on teaching Joey to jump.
Emilie’s grandfather (Niels Arestrup) gives her an inspiring speech about France’s superior carrier pigeons, and the meaning of bravery. Something tells me a certain war horse is going to find himself tested with the challenge of bravery soon.
This film is based on Elegy for Iris literary critic John Bayley's biography of his late wife the brilliant writer and philosopher Iris Murdoch. Iris is unconventional in the sense that it does not adhere to a structured plot or story line but instead focuses on their relationship by flashing back and forth between the present and 40 years ago when the two first met. In the sequences taking place in the past Kate Winslet plays a young confident Murdoch in her formative years a woman revered by men and openly bisexual. Hugh Bonneville plays the young and apprehensive Bayley hopelessly pursuing her. The present however reveals a drastic role reversal for the couple: We see Murdoch in her 70s as played by Judi Dench and witness her descent into Alzheimer's disease and the toll it takes on her husband played by Jim Broadbent. The once-subservient husband has been thrust into a caretaker position and painfully tries to cope with his beloved wife's illness and loss of sanity.
Dench deservedly received a best actress Oscar nomination for the fabulous job she does as the older Murdoch. She is convincing as a brilliant thinker and even more believable as her condition worsens--check out the heartbreaking scene when Bayley locks himself in the study to get away from her irrational behavior and she scratches the windowpane on the glass door like a cat while looking at her husband with utter helplessness. Dench conveys her character's vulnerability in a single glance. As an older Bayley Broadbent is as impressive as Dench especially as he struggles to be assertive yet avoid being too harsh. Bonneville as a young Bayley could almost be Broadbent's clone. At first glance he looks like the same actor made to look older through some sort of makeup or special effects wizardry. Bonneville skillfully hatches the young Bayley's traits and tics later perfected by Broadbent. Winslet also Oscar-nominated for Iris (in the supporting actress category) well plays Murdoch's early audacity and boldness.
Director Richard Eyre does a beautiful and seamless job flowing from the past to the present throughout the film. Although the film barely delves into Murdoch's work the importance of her writing is established with scenes from a BBC interview or a luncheon given in her honor. Eyre also does an exceptional job conveying Bayley's hopeless predicament: he fusses over Murdoch like an overprotective parent intermittently lashing out at her only to apologize sobbing afterward for having done so. It's sweet and pitiful especially since Bayley believes that the Iris he fell in love with is still in there somewhere. But while the film is visually exquisite and convincing the subject matter is not necessarily entertaining. We know Murdoch will eventually succumb to her illness but it's even more dreadful to have to watch every agonizing step. By the time Murdoch was reduced to playing in the dirt and watching Teletubbies I found myself wondering When is she going to die already?