By Roxana Hadadi
As a producer, Steven Spielberg slaps his name on just about anything, even when the films are pretty terrible (“Cowboys & Aliens,” “Transformers: Dark of the Moon,” for instance). But as a director, Spielberg usually does things the right way — and “War Horse” is a return to the kind of epic filmmaking he does best.
Think “Saving Private Ryan” and “Schindler’s List,” those sprawling, engrossing, over-the-top emotional behemoths that really made you feel the searing loss and pain of war. That’s the Spielberg who made “War Horse,” which is far different emotionally than Spielberg’s other directorial effort out this winter, “The Adventures of Tintin.” That animated whirlwind of 3D is cutesy and fun; “War Horse” is enveloping and depressing. It’s about World War I; what do you expect?
Based on the British children’s novel by Michael Morpurgo, which was published in 1982, “War Horse” follows the mythical, mystical relationship between young Albert (Jeremy Irvine) and his horse Joey, a chestnut-red beauty with a white cross on its head. The horse is hardworking, fearless and, most importantly, exceedingly loyal; the two have a friendship that rivals that between George Valentin and the dog that saves his life in “The Artist.” But though Albert lives in the English countryside, far from the government’s hustle and bustle, he can’t escape World War I, or the nationwide call for horses. His father Ted (Peter Mullan) sees the bond between his son and his horse, but the family needs the money the British army will pay for Joey. Even though Ted can’t stand remembering his own war experiences, he sells Joey to Capt. Nicholls (Tom Hiddleston), who has the brightest blue eyes in all the land — seriously — and promises Albert he’ll bring Joey back to him.
But despite Albert’s youth, he wants to enlist to find Joey — who we see through a variety of journeys. The horse finds itself in Germany, in France, through cavalry charges and desertions, in windmills and in barbed wire; his interactions with various children and soldiers shows the varying nature of humanity. Some help Joey, some hurt him. Some want him for their own, some want what’s best for him. The bright, brave horse reflects the best and worst in all of us — the strength and weakness of men.
Capt. Nicholls’ promise to Albert was a lofty one, of course, especially when World War I was so bloody, so brutal. Spielberg films the fight scenes with such a blunt ferocity that his contempt for battle is quite clear. Men, horses: all wasted. Dreamlike lighting and lingering shots of the bloodshed help Spielberg make his argument; much like “Saving Private Ryan” demonstrated the rapid way war changes you, “War Horse” reflects the same kind of irreversible heartache.
Fourteen different horses played Joey, and if animals could get awards, give them some. The horses are so majestic that it’s easy to understand why Albert, Capt. Nicholls and everyone else who sees Joey yearned to save him. Those animals playing Joey are the stars; everyone else is just part of an ensemble surrounding their beauty. But Irvine and Hiddleston will get to you, too, of course: The former with his fresh-faced naivete and youth, qualities that transform and slightly harden during the war. Seeing so many die around you will do that. And Hiddleston — who seems to have played everyone this year, from bad guy Loki in “Thor” to F. Scott Fitzgerald in “Midnight in Paris” — captures all that is promising and proud and noble in Capt. Nicholls. If there is an inherent goodness in men, Albert and Cap. Nicholls have it.
But “War Horse” is long, more than two hours, and (like all fairy tales do) defies belief at times. Coincidence after coincidence cement the film’s happy ending; while Spielberg doesn’t skimp on the realities of war, his truthful battle scenes just build toward a somewhat improbable conclusion. That’s a flaw of the book, of course, but it’s also the film’s biggest downside.
Overall, Spielberg has poured tons of sentimentality into “War Horse,” with its soaring music, flawless protagonists and overall Hallmark card-like loveliness. It’s not as hard-hitting as his other war films, but its fairy tale-like consistency makes it work as a family film for older children — as a defense of all that is beautiful, just and good, “War Horse,” despite its schmaltziness, just works.