White Mane


40m 1952
White Mane

Brief Synopsis

A young boy becomes attached to a wild horse in the south of France.

Film Details

Also Known As
Crin Blanc, le cheval sauvage, cheval sauvage, White Horse, The
Genre
Drama
Family
Foreign
Release Date
1952

Technical Specs

Duration
40m

Synopsis

A young boy becomes attached to a wild horse in the south of France.

Film Details

Also Known As
Crin Blanc, le cheval sauvage, cheval sauvage, White Horse, The
Genre
Drama
Family
Foreign
Release Date
1952

Technical Specs

Duration
40m

Articles

White Mane


Alone among modern filmmakers, Albert Lamorisse built a towering international reputation on the basis of movies less than an hour long. The picture that first brought him to world attention was White Mane, which clocks in at a lean forty minutes and won both the Prix Jean Vigo and a top prize at the Cannes Film Festival in 1953. Three years later The Red Balloon (1956) earned the highest Cannes prize as well as an Academy Award for Best Original Screenplay, and recently the eminent Taiwanese director Hou Hsiao-hsien paid tribute to it with his lyrical 2007 feature Flight of the Red Balloon.

These remain Lamorisse's most beloved pictures. Both are cinematic tone poems focusing on a boy and an offbeat companion - a gorgeous stallion in the 1953 movie, a balloon with a mind of its own in the later film - and each conveys its slender tale with hardly a bit of dialogue, although White Mane is narrated by an off-screen storyteller. The films also share a concern with jealousy and conflict, confronting their young protagonists with rivals who want to snatch their unusual companions away. Both pictures have conclusions that don't so much resolve the human hero's problems as transport them from the everyday world to the domain of myth and mystery; yet each film is rooted very much in reality, set in real French locations - the rugged terrain of the Camargue region in White Mane, Paris's atmospheric Belleville district in The Red Balloon - and shot with a documentary-like clarity that reflects Lamorisse's experience as a photographer and ethnographic filmmaker earlier in his career.

White Mane,, known as Crin Blanc: Le Cheval sauvage in its native country, introduces the title character at the outset, running wild with his herd in the Little Camargue, a stretch of marshy land in southeastern France bordered by the Mediterranean Sea to the south and branches of the Rhône River to the east and west. Horses like White Mane have lived there pretty much forever, and they're favored by the local cowboys (who raise bulls for export to Spanish bullrings) because they make up for their relatively small size with a strength and suppleness bred into them by centuries of living in a swampy, irregular environment. White Mane is a handsome steed by any standard, but as the narrator tells us in the opening scene, he doesn't like people much - an attitude that doesn't change when cowboys catch him, pen him up, and try to break his freewheeling spirit.

The other main character is Folco, a fisherman's grandson who falls in love with White Mane at first sight and trails him when he escapes from the corral. When the cowboys fail to recapture White Mane easily they give up in disgust, telling Folco he can have the stallion if he can catch him. Folco manages to get a lariat around the horse's neck, only to be dragged through a tract of swampland and half drowned, losing White Mane in the process. Discord later arises between White Mane and his herd, however, and he decides to befriend the boy after all. Chased again by the cowboys, who set fire to the brush as a way of getting him within their grasp, White Mane gallops toward the sea with Folco on his back. The cowboys shout desperate warnings, knowing the boy and horse will die if they enter the sea's swift current. But the cries fall on deaf ears. "They swam straight ahead, straight ahead," the narrator tells us, "and White Mane, with his great strength, carried his friend, who trusted him, to a wonderful place where men and horses live as friends, always."

The great French filmmaker François Truffaut, who explored childhood in such highly regarded films as The 400 Blows (1959) and Small Change (1976), didn't much like White Mane, finding it empty of "emotional truth" and calling the animal hero a "counterfeit horse" in the worst Walt Disney tradition. An even more negative take appeared in a 2007 review by Washington Post cultural critic Philip Kennicott, who wrote that White Mane and The Red Balloon take place in a fabricated "world of lies" and use beautiful imagery to support "a moral system - a blunt promise of rewards for good behavior - not much more sophisticated than that of Santa and the Easter Bunny," good only for "indoctrinating kids in a worldview that will lead only to bitter disappointment." So much for fables and fantasies as tools for encouraging children to experiment with ideas, interpret artistic experiences, and learn to think critically about the world.

More generous comments came from Truffaut's mentor, André Bazin, who praised Lamorisse for making White Mane simultaneously "a real horse that grazes on the salty grass of the Camargue and a dream horse swimming eternally." Bazin believed that photographic reality is cinema's best asset, but he forgave Lamorisse for making compromises on that score - using a stunt double (himself) for the scene where young Folco is dragged through the swamp, for instance, and using several horses to play White Mane over the course of the film. What most clearly separates Lamorisse from Disney, however, is the way the French director captures the essence of White Mane's behavior with a minimum of editing tricks, relying as much as possible on expert camerawork and the ability of his young leading man, Alain Emery, to treat his equine costar(s) with trust and affection. Emery's acting is lifelike in all respects, and although he didn't know how to ride a horse before Lamorisse hired him, his bareback riding is so natural and graceful that you'd think he had been doing it since before he could walk.

To my eyes, the most striking aspect of White Mane is Edmond Séchan's superb cinematography, which invests the Camargue countryside with a huge variety of details, nuances, and moods, from the intimidating toughness of its rougher areas to the luminous beauty of land covered with just enough water to cast a shimmering reflection of the boy and horse traversing it. Lamorisse's later years were marred by unsuccessful tries at feature filmmaking and he died tragically young - at 48, in a 1970 helicopter crash while shooting a documentary in Iran. But the visual beauties of his best short movies have kept his name and reputation alive, and White Mane is arguably the finest of them.

Director: Albert Lamorisse
Producer: Albert Lamorisse
Screenplay: Albert Lamorisse; adaptation by Denys Colomb de Daunant
Cinematographer: Edmond Séchan
Film Editing: Georges Alepee
Music: Maurice Le Roux
With: Alain Emery (Folco), Laurent Roche, Clan-Clan, Pascal Lamorisse, François Perie, Charles Guillaume, Alain and Denys Colomb de Daunant, Charles Fouhetty, Pierre Bestieux, Pierre Moureaux-Nery, English-language narration by Peter Strauss
BW-40m.

by David Sterritt
White Mane

White Mane

Alone among modern filmmakers, Albert Lamorisse built a towering international reputation on the basis of movies less than an hour long. The picture that first brought him to world attention was White Mane, which clocks in at a lean forty minutes and won both the Prix Jean Vigo and a top prize at the Cannes Film Festival in 1953. Three years later The Red Balloon (1956) earned the highest Cannes prize as well as an Academy Award for Best Original Screenplay, and recently the eminent Taiwanese director Hou Hsiao-hsien paid tribute to it with his lyrical 2007 feature Flight of the Red Balloon. These remain Lamorisse's most beloved pictures. Both are cinematic tone poems focusing on a boy and an offbeat companion - a gorgeous stallion in the 1953 movie, a balloon with a mind of its own in the later film - and each conveys its slender tale with hardly a bit of dialogue, although White Mane is narrated by an off-screen storyteller. The films also share a concern with jealousy and conflict, confronting their young protagonists with rivals who want to snatch their unusual companions away. Both pictures have conclusions that don't so much resolve the human hero's problems as transport them from the everyday world to the domain of myth and mystery; yet each film is rooted very much in reality, set in real French locations - the rugged terrain of the Camargue region in White Mane, Paris's atmospheric Belleville district in The Red Balloon - and shot with a documentary-like clarity that reflects Lamorisse's experience as a photographer and ethnographic filmmaker earlier in his career. White Mane,, known as Crin Blanc: Le Cheval sauvage in its native country, introduces the title character at the outset, running wild with his herd in the Little Camargue, a stretch of marshy land in southeastern France bordered by the Mediterranean Sea to the south and branches of the Rhône River to the east and west. Horses like White Mane have lived there pretty much forever, and they're favored by the local cowboys (who raise bulls for export to Spanish bullrings) because they make up for their relatively small size with a strength and suppleness bred into them by centuries of living in a swampy, irregular environment. White Mane is a handsome steed by any standard, but as the narrator tells us in the opening scene, he doesn't like people much - an attitude that doesn't change when cowboys catch him, pen him up, and try to break his freewheeling spirit. The other main character is Folco, a fisherman's grandson who falls in love with White Mane at first sight and trails him when he escapes from the corral. When the cowboys fail to recapture White Mane easily they give up in disgust, telling Folco he can have the stallion if he can catch him. Folco manages to get a lariat around the horse's neck, only to be dragged through a tract of swampland and half drowned, losing White Mane in the process. Discord later arises between White Mane and his herd, however, and he decides to befriend the boy after all. Chased again by the cowboys, who set fire to the brush as a way of getting him within their grasp, White Mane gallops toward the sea with Folco on his back. The cowboys shout desperate warnings, knowing the boy and horse will die if they enter the sea's swift current. But the cries fall on deaf ears. "They swam straight ahead, straight ahead," the narrator tells us, "and White Mane, with his great strength, carried his friend, who trusted him, to a wonderful place where men and horses live as friends, always." The great French filmmaker François Truffaut, who explored childhood in such highly regarded films as The 400 Blows (1959) and Small Change (1976), didn't much like White Mane, finding it empty of "emotional truth" and calling the animal hero a "counterfeit horse" in the worst Walt Disney tradition. An even more negative take appeared in a 2007 review by Washington Post cultural critic Philip Kennicott, who wrote that White Mane and The Red Balloon take place in a fabricated "world of lies" and use beautiful imagery to support "a moral system - a blunt promise of rewards for good behavior - not much more sophisticated than that of Santa and the Easter Bunny," good only for "indoctrinating kids in a worldview that will lead only to bitter disappointment." So much for fables and fantasies as tools for encouraging children to experiment with ideas, interpret artistic experiences, and learn to think critically about the world. More generous comments came from Truffaut's mentor, André Bazin, who praised Lamorisse for making White Mane simultaneously "a real horse that grazes on the salty grass of the Camargue and a dream horse swimming eternally." Bazin believed that photographic reality is cinema's best asset, but he forgave Lamorisse for making compromises on that score - using a stunt double (himself) for the scene where young Folco is dragged through the swamp, for instance, and using several horses to play White Mane over the course of the film. What most clearly separates Lamorisse from Disney, however, is the way the French director captures the essence of White Mane's behavior with a minimum of editing tricks, relying as much as possible on expert camerawork and the ability of his young leading man, Alain Emery, to treat his equine costar(s) with trust and affection. Emery's acting is lifelike in all respects, and although he didn't know how to ride a horse before Lamorisse hired him, his bareback riding is so natural and graceful that you'd think he had been doing it since before he could walk. To my eyes, the most striking aspect of White Mane is Edmond Séchan's superb cinematography, which invests the Camargue countryside with a huge variety of details, nuances, and moods, from the intimidating toughness of its rougher areas to the luminous beauty of land covered with just enough water to cast a shimmering reflection of the boy and horse traversing it. Lamorisse's later years were marred by unsuccessful tries at feature filmmaking and he died tragically young - at 48, in a 1970 helicopter crash while shooting a documentary in Iran. But the visual beauties of his best short movies have kept his name and reputation alive, and White Mane is arguably the finest of them. Director: Albert Lamorisse Producer: Albert Lamorisse Screenplay: Albert Lamorisse; adaptation by Denys Colomb de Daunant Cinematographer: Edmond Séchan Film Editing: Georges Alepee Music: Maurice Le Roux With: Alain Emery (Folco), Laurent Roche, Clan-Clan, Pascal Lamorisse, François Perie, Charles Guillaume, Alain and Denys Colomb de Daunant, Charles Fouhetty, Pierre Bestieux, Pierre Moureaux-Nery, English-language narration by Peter Strauss BW-40m. by David Sterritt

White Mane - WHITE MANE - Albert Lamorisse's 1953 Family Classic on DVD


A lonely landscape. A boy wins the trust of a magnificent horse. The two play in the surf together and eventually form a strong relationship. This description of Carroll Ballard's The Black Stallion also fits a short French feature that won the Grand Prize for the Best Short Film at Cannes in 1953. All but forgotten until its recent restoration, Albert Lamorisse's White Mane (Crin-Blanc) bridges the gap between the documentary, the children's film and cinematic art.

Lamorisse would gain much greater fame with his next effort, the celebrated and widely shown The Red Balloon. Filmed in crisp B&W, White Mane is just as accomplished, a beautiful tale of a boy and a horse. Told with a minimum of dialogue and accompanied by an expressive music score, the movie edges between documentary realism and fantasy.

The story is not complicated. An almost feral French boy named Folco (Alain Emery) fishes for his grandfather and baby sister in the Carmargue region of France, an untouched marshland. Local ranchers round up the region's wild horses just as do American cowboys, the only difference besides language being their wide-topped riding boots, presumably for wading in the shallow waters. The cowboys are intent on capturing a wild stallion named White Mane, while Folco secretly hopes to have the defiant and proud animal for his own. White Mane is captured but breaks free of the ranchers' corral, and reasserts his dominance in the herd by defeating another stallion in combat. Then Folco lassos the animal, and for his effort is dragged halfway across the marsh and onto a muddy beach. White Mane prefers his freedom but responds to Folco's gentle touch; boy and horse become part-time friends.

Filmmaker Lamorisse films all of this with documentary precision, making White Mane's struggles with the cowboys and his fight for supremacy in the herd seem like natural behaviors captured in the wild. We're told that those are the tricks of a former documentary filmmaker and that the horse is actually played by several different animals. We also see Folco at his thatched-roof home, interacting with his grandfather and giving his cute baby sister a turtle to play with. Then it's off to find White Mane again, and the film becomes a western-style chase with the cowboys pursuing the bareback-riding Folco through the marshland.

Alain Emery's Folco is a good-looking kid with long hair that often sweeps down over his face, forming a visual rhyme with the white horse's long, fine mane. The lean story soon develops into a child's fable with occasional naturalistic touches, as when horse and boy pursue a cute rabbit across a dry mudflat. The refreshingly anti-Disney payoff shows the kid roasting the rabbit over a fire; impetuous nature boys get hungry too. The ambiguous and rather disturbing ending leaves the fate of boy and steed unresolved, with an only partially optimistic farewell: They're going to "... that wonderful place where men and horses are friends, always." That desired destination sounds a lot like a fantasy afterlife.

White Mane will appeal to kids interested in movies about animals, and who are willing to accept its relatively sedate pace. The film is just ambiguous enough to encourage metaphorical interpretations: the wild boy and horse choose an uncertain future rather than submit to the will of others. They ultimately take a stand for personal commitment, a sentiment easily accepted at this level of mythmaking. The untamed, proud animal can really fight back, kicking and biting the cowboy tormentors who repeatedly renege on their promise to leave the boy and horse in peace. The theme of a lone boy harassed by hostile forces will be visited again in Lamorisse's The Red Balloon.

The DVD of White Mane says "The Criterion Collection" on its anti-theft sticker but all other markings declare it a direct release of Janus Films, the wonderful distributor of art films from way before the days of home video. A handsome B&W transfer makes the show look as if it were filmed yesterday.

Janus thoughtfully presents the show with two soundtracks. The original French version has removable subtitles and poetic narration read by Jean-Pierre Grenier. A newly recorded English track uses a narration read by actor Peter Strauss. We do not know if this is the same English narration written for the film by the famous critic, author and screenwriter James Agee, as documented in John Wranovics' study of Agee's years dabbling in film work:

"Although Agee is not credited on the surviving film version, sound recordings of him reciting the narration survive, and after his Death, the Omnibus television program broadcast the short film with Agee's version of the commentary."

Critic Michael Koresky contributes informative liner notes. A trailer for the short feature turns out to be a theatrical announcement for the 2007 joint theatrical reissue of this film with Lamorisse's later The Red Balloon.

For more information about White Mane, visit The Criterion Collection. To order White Mane, go to TCM Shopping

by Glenn Erickson

White Mane - WHITE MANE - Albert Lamorisse's 1953 Family Classic on DVD

A lonely landscape. A boy wins the trust of a magnificent horse. The two play in the surf together and eventually form a strong relationship. This description of Carroll Ballard's The Black Stallion also fits a short French feature that won the Grand Prize for the Best Short Film at Cannes in 1953. All but forgotten until its recent restoration, Albert Lamorisse's White Mane (Crin-Blanc) bridges the gap between the documentary, the children's film and cinematic art. Lamorisse would gain much greater fame with his next effort, the celebrated and widely shown The Red Balloon. Filmed in crisp B&W, White Mane is just as accomplished, a beautiful tale of a boy and a horse. Told with a minimum of dialogue and accompanied by an expressive music score, the movie edges between documentary realism and fantasy. The story is not complicated. An almost feral French boy named Folco (Alain Emery) fishes for his grandfather and baby sister in the Carmargue region of France, an untouched marshland. Local ranchers round up the region's wild horses just as do American cowboys, the only difference besides language being their wide-topped riding boots, presumably for wading in the shallow waters. The cowboys are intent on capturing a wild stallion named White Mane, while Folco secretly hopes to have the defiant and proud animal for his own. White Mane is captured but breaks free of the ranchers' corral, and reasserts his dominance in the herd by defeating another stallion in combat. Then Folco lassos the animal, and for his effort is dragged halfway across the marsh and onto a muddy beach. White Mane prefers his freedom but responds to Folco's gentle touch; boy and horse become part-time friends. Filmmaker Lamorisse films all of this with documentary precision, making White Mane's struggles with the cowboys and his fight for supremacy in the herd seem like natural behaviors captured in the wild. We're told that those are the tricks of a former documentary filmmaker and that the horse is actually played by several different animals. We also see Folco at his thatched-roof home, interacting with his grandfather and giving his cute baby sister a turtle to play with. Then it's off to find White Mane again, and the film becomes a western-style chase with the cowboys pursuing the bareback-riding Folco through the marshland. Alain Emery's Folco is a good-looking kid with long hair that often sweeps down over his face, forming a visual rhyme with the white horse's long, fine mane. The lean story soon develops into a child's fable with occasional naturalistic touches, as when horse and boy pursue a cute rabbit across a dry mudflat. The refreshingly anti-Disney payoff shows the kid roasting the rabbit over a fire; impetuous nature boys get hungry too. The ambiguous and rather disturbing ending leaves the fate of boy and steed unresolved, with an only partially optimistic farewell: They're going to "... that wonderful place where men and horses are friends, always." That desired destination sounds a lot like a fantasy afterlife. White Mane will appeal to kids interested in movies about animals, and who are willing to accept its relatively sedate pace. The film is just ambiguous enough to encourage metaphorical interpretations: the wild boy and horse choose an uncertain future rather than submit to the will of others. They ultimately take a stand for personal commitment, a sentiment easily accepted at this level of mythmaking. The untamed, proud animal can really fight back, kicking and biting the cowboy tormentors who repeatedly renege on their promise to leave the boy and horse in peace. The theme of a lone boy harassed by hostile forces will be visited again in Lamorisse's The Red Balloon. The DVD of White Mane says "The Criterion Collection" on its anti-theft sticker but all other markings declare it a direct release of Janus Films, the wonderful distributor of art films from way before the days of home video. A handsome B&W transfer makes the show look as if it were filmed yesterday. Janus thoughtfully presents the show with two soundtracks. The original French version has removable subtitles and poetic narration read by Jean-Pierre Grenier. A newly recorded English track uses a narration read by actor Peter Strauss. We do not know if this is the same English narration written for the film by the famous critic, author and screenwriter James Agee, as documented in John Wranovics' study of Agee's years dabbling in film work: "Although Agee is not credited on the surviving film version, sound recordings of him reciting the narration survive, and after his Death, the Omnibus television program broadcast the short film with Agee's version of the commentary." Critic Michael Koresky contributes informative liner notes. A trailer for the short feature turns out to be a theatrical announcement for the 2007 joint theatrical reissue of this film with Lamorisse's later The Red Balloon. For more information about White Mane, visit The Criterion Collection. To order White Mane, go to TCM Shopping by Glenn Erickson

Quotes

Trivia