Equus (B+ or 3/4 stars)
'Equus' is a sensitively told & deeply unsettling 1977 psychological drama directed by Sidney Lumet & based on Peter Schafer's hit stage play. Dr. Martin Dysart (Richard Burton) - a psychiatrist who seems increasingly ill at ease with his life - is called upon by a magistrate (Eileen Atkins) to head for Hampshire, England to take-on the peculiar case of Alan Strang (Peter Firth), a troubled 17 yr. old stable boy who is accused of brutally blinding 6 horses by way of a steel spike. Dr. Dysart slowly unravels Alan's background/circumstances, learning that he grew up in a highly strained household with a gentle, devoutly pious mother, Dora (Joan Plowright, excellent), & a stern, but inwardly-spineless atheist father, Frank (Colin Blakely, solid).
Dr. Dysart also learns of Alan's friendship with flirtatious Jill Mason (Jenny Agutter), who works at Harry Dalton's (Harry Andrews) stables; the site of the blindings. Through hypnotism & psychoanalysis, Dr. Dysart begins to trace the disturbing roots of Alan's mad act of violence {mommy issues, daddy issues, mystically elevating Equus horses to a god-like status, intense sexual frustrations, etc}. But concurrently, Dr. Dysart must contend with his own personal demons that are bubbling to surface {including repressions & a loveless marriage}. Sexual-religious symbolism & high drama ensues.
Richard Burton is superb as the haunted, emotionally-wrecked, physically weary Dr. Dysart; who is trying his damnedest to suss out Alan's disturbing obsession with horses, as well as his own life problems. Director Sidney Lumet lets Burton's Dysart talk directly to camera in several key speeches. This works well, allowing us to peer into Dysart's own agonized soul. In fact, Dysart's own life problems/demons turn out to be even more chilling than Alan's. This performance gave Burton his 7th & final Academy Award nomination and, I would have given the Lead win to him this year. I also would've given the Supporting Actor win to Peter Firth, who brilliantly conveys Alan's inner turmoil; just as he did so convincingly on the stage.
Joan Plowright & Colin Blakely are effective in small, but key roles as Alan's imperceptive parents. I admired Jenny Agutter's sexpot, Jill. And Kate Reid is stellar as Dysart's crestfallen wife. In the play, the horses are played by humans in horse masks/costumes. Here, the horses are real. Seeing the freeing image of Peter Firth riding these beautiful creatures in the nude seems quite natural, until you find out the real reason for him riding them in the nude. Along with nominations for Burton & Firth, Peter Schafer received an Oscar nod for adapting his material for the screen; even if he vehemently disagreed with Sidney Lumet on how to shoot the stable sequence involving the horses. To him, it felt like it came from a slasher film. 'Equus' goes on a tad long and, mileage may vary on its bizarre narrative. But I found it to be an intriguing film with marvelous performances & nervy built-in tension.
Dr. Dysart also learns of Alan's friendship with flirtatious Jill Mason (Jenny Agutter), who works at Harry Dalton's (Harry Andrews) stables; the site of the blindings. Through hypnotism & psychoanalysis, Dr. Dysart begins to trace the disturbing roots of Alan's mad act of violence {mommy issues, daddy issues, mystically elevating Equus horses to a god-like status, intense sexual frustrations, etc}. But concurrently, Dr. Dysart must contend with his own personal demons that are bubbling to surface {including repressions & a loveless marriage}. Sexual-religious symbolism & high drama ensues.
Richard Burton is superb as the haunted, emotionally-wrecked, physically weary Dr. Dysart; who is trying his damnedest to suss out Alan's disturbing obsession with horses, as well as his own life problems. Director Sidney Lumet lets Burton's Dysart talk directly to camera in several key speeches. This works well, allowing us to peer into Dysart's own agonized soul. In fact, Dysart's own life problems/demons turn out to be even more chilling than Alan's. This performance gave Burton his 7th & final Academy Award nomination and, I would have given the Lead win to him this year. I also would've given the Supporting Actor win to Peter Firth, who brilliantly conveys Alan's inner turmoil; just as he did so convincingly on the stage.
Joan Plowright & Colin Blakely are effective in small, but key roles as Alan's imperceptive parents. I admired Jenny Agutter's sexpot, Jill. And Kate Reid is stellar as Dysart's crestfallen wife. In the play, the horses are played by humans in horse masks/costumes. Here, the horses are real. Seeing the freeing image of Peter Firth riding these beautiful creatures in the nude seems quite natural, until you find out the real reason for him riding them in the nude. Along with nominations for Burton & Firth, Peter Schafer received an Oscar nod for adapting his material for the screen; even if he vehemently disagreed with Sidney Lumet on how to shoot the stable sequence involving the horses. To him, it felt like it came from a slasher film. 'Equus' goes on a tad long and, mileage may vary on its bizarre narrative. But I found it to be an intriguing film with marvelous performances & nervy built-in tension.