It's not surprising that the hand of Robert Redford as executive producer might have been present to guide the filming of this story. His 1998 picture "The Horse Whisperer", in which he starred and directed, was an earlier showcase that demonstrated the power of healing inherent in the close relationship that can be fostered between a man and his horse. This story takes place at Nevada's Ely State Prison, where convict Roman Coleman (Matthias Schoenaerts) is serving a twenty year sentence for murder due to his hostile temper. An illuminating scene in the story takes place during the therapy session with a handful of other convicted murderers, who tell their story and how a mere few thoughtless seconds resulted in years of imprisonment.
Both Roman and his 'therapy' horse start out as incorrigible. Actually, the horses in the story are not there as therapy animals, but as wild mustangs rounded up to be trained by members of the prison population singled out for the task. Following a twelve week cycle, the animals are then sold to police departments or other organizations that can utilize them for their newly acquired manageability. The sense of loss experienced by the trainers is visibly apparent in the case of Thomas Youngblood (Thomas Smittle), who's moved to tears when his horse T-Bird is sold at auction. The bond formed between man and horse can almost be compared to that of family, even after such a short period of time.
A side story regarding Roman Coleman's under age, pregnant daughter Martha (Gideon Adlon) seeking emancipation allows for a tentative look into his background and how he ended up in prison. Their strained relationship is rocky at first, but as Roman begins to learn more about himself by working with 'Marquis', he attains a level of perspective and patience that can be applied to human relationships. Though their final parting is somewhat ambiguous, Roman does gain some closure when he eventually receives a letter from his daughter with a picture of his grandson. It's a tender moment that could have been mawkishly sentimental if not for the assured guidance of first time film director, Laure de Clermont-Tonnerre.
Both Roman and his 'therapy' horse start out as incorrigible. Actually, the horses in the story are not there as therapy animals, but as wild mustangs rounded up to be trained by members of the prison population singled out for the task. Following a twelve week cycle, the animals are then sold to police departments or other organizations that can utilize them for their newly acquired manageability. The sense of loss experienced by the trainers is visibly apparent in the case of Thomas Youngblood (Thomas Smittle), who's moved to tears when his horse T-Bird is sold at auction. The bond formed between man and horse can almost be compared to that of family, even after such a short period of time.
A side story regarding Roman Coleman's under age, pregnant daughter Martha (Gideon Adlon) seeking emancipation allows for a tentative look into his background and how he ended up in prison. Their strained relationship is rocky at first, but as Roman begins to learn more about himself by working with 'Marquis', he attains a level of perspective and patience that can be applied to human relationships. Though their final parting is somewhat ambiguous, Roman does gain some closure when he eventually receives a letter from his daughter with a picture of his grandson. It's a tender moment that could have been mawkishly sentimental if not for the assured guidance of first time film director, Laure de Clermont-Tonnerre.