I was almost seven years old. My paternal Nana took me to see this movie in the Chicago Loop in 1952. White Mane was a short film accompanying the latest version of Heidi which she wanted me to see on account of my Gramps being of Switzerdietsch extraction and all. Aside from a vague recollection of poor Heidi stashing hard-rolls up in her closet, I don't remember the movie in any detail. I guess it was pretty, ya, mit edelweiss and everything. White Mane, on the other hand, left a lasting impression on me as a kid: self-sacrifice for love of another being. The realization that the consequences of some actions could result in DEATH. A new concept of DEATH for a seven-year-old. Greed can result in death...and so forth. In short, the ending of the movie (SPOILER COMING NOW) where the kid rides his beloved White Mane into the Mediterranean to avoid capture by his pursuers (c.f., Masada, etc.) freaked me out. But in a good way, and with a lesson. Sort of like Invaders from Mars taught me to distrust the military and by extension the government, and The Night of the Hunter taught me to be wary of anyone calling himself "Preacher," and Lolita taught me to distrust anyone with two last names! And Psycho taught me never to bathe....I guess I'll have to watch White Mane again to see if I remembered any of it right.
25 Reviews
Beautiful
MikeyB179323 August 2009
Beautiful and touching movies – both filmed with a minimum of dialogue. 'The Red Balloon' takes place in Paris in the mid-fifties and has humour and tenderness. The Paris of the 1950's does not quite look a beautiful as it does today – it looks a little stodgy and war-torn.
Both these were filmed in the mid-fifties and both stand well the test of time. The sound-score in each is exquisite and enhances the tone of both movies.
The second movie on this DVD is the 'White Mane' filmed in the south of France in the Camargue region. If you love horses this is a must. I am only an amateur fan but was highly impressed.
Both these films by Albert Lamorisse are available on the same DVD. They are each about 35 minutes in length and well worth the watch. They do remind me of the best Disney movies I use to watch as a child.
Both these were filmed in the mid-fifties and both stand well the test of time. The sound-score in each is exquisite and enhances the tone of both movies.
The second movie on this DVD is the 'White Mane' filmed in the south of France in the Camargue region. If you love horses this is a must. I am only an amateur fan but was highly impressed.
Both these films by Albert Lamorisse are available on the same DVD. They are each about 35 minutes in length and well worth the watch. They do remind me of the best Disney movies I use to watch as a child.
Interesting B&W images from the man who did "The Red Balloon"...
Doylenf1 June 2008
Although this was an award-winning French film that won honors as Best Short Film at the Cannes Film Festival, there's really nothing that memorable about this B&W odyssey about a wild stallion and a small boy who tames it.
The background music is pleasant, the photography is pleasing enough and the boy is a natural actor, but the story seems to be lacking something in spirit and seems rather bland by the time it winds up its tale in 43 minutes with a rather ambiguous ending.
ALAIN EMERY is the boy, Falco, who befriends a white stallion in Camarque, arid lands in the south of France, much to the displeasure of a group of men who were trying to capture the animal themselves. Once the horse accepts him as a rider, he spends the rest of the film trying to avoid capture by the men on horseback who chase the boy and the horse all over the dunes and finally the beach, where boy and horse ride off into the waves.
That's the story. Whether it captures your attention completely or not is debatable, but it is definitely well made and worth seeing at least once.
Trivia note: The main page at IMDb specifies that the film was photographed in Eastman Color but the print shown on TCM was in black and white.
The background music is pleasant, the photography is pleasing enough and the boy is a natural actor, but the story seems to be lacking something in spirit and seems rather bland by the time it winds up its tale in 43 minutes with a rather ambiguous ending.
ALAIN EMERY is the boy, Falco, who befriends a white stallion in Camarque, arid lands in the south of France, much to the displeasure of a group of men who were trying to capture the animal themselves. Once the horse accepts him as a rider, he spends the rest of the film trying to avoid capture by the men on horseback who chase the boy and the horse all over the dunes and finally the beach, where boy and horse ride off into the waves.
That's the story. Whether it captures your attention completely or not is debatable, but it is definitely well made and worth seeing at least once.
Trivia note: The main page at IMDb specifies that the film was photographed in Eastman Color but the print shown on TCM was in black and white.
A childhood classic
dbdumonteil3 April 2007
Every French pupil of the sixties or even the seventies knows "Crin-Blanc",one of the major works of Albert Lamorisse who used to make films aimed at the children's market: "Bim Le Petit Ane" "Le Voyage en Ballon" and "le Ballon Rouge" are of the same kind.The French critic remains tepid as far as they are concerned,but abroad all are praised as masterpieces of moving poetry.
Let's take the golden middle:masterpieces,there are certainly not,but representative of an era ,the era of Doisneau's photographs and pupils in grey overall,they certainly are.
Whereas "le Ballon Rouge " depicted a graying urban landscape,"Crin-Blanc" takes place in Camargue with its wild horses ,including ,the wildest of them all,"Crin-Blanc ".But the two movies have the same conclusion: both Folco and Pascal cannot live in the men's world and both escape from their world,one flew over Paris with his magic balloon and the other returned to the (new christening?) waters of the river with his mythical horse.
Let's take the golden middle:masterpieces,there are certainly not,but representative of an era ,the era of Doisneau's photographs and pupils in grey overall,they certainly are.
Whereas "le Ballon Rouge " depicted a graying urban landscape,"Crin-Blanc" takes place in Camargue with its wild horses ,including ,the wildest of them all,"Crin-Blanc ".But the two movies have the same conclusion: both Folco and Pascal cannot live in the men's world and both escape from their world,one flew over Paris with his magic balloon and the other returned to the (new christening?) waters of the river with his mythical horse.
Engrossing nature story
rjyelverton26 February 2009
Warning: Spoilers
"White Mane" follows Folco, a boy fisherman living in the marshes of France. He spots a striking white stallion while working and tries to approach the horse. White Mane, a leader of a pack of wild horses, evades the boy, but the two will meet again. White Mane is also trying to elude ranch hands who are attempting to capture and break the wild horse. As the horse evades the men, he warms to Folco who desires a friend more than workhorse.
The film's nature scenes are fantastic and the moments where White Mane fights for leadership of his clan are fascinating and brutal. Animals were clearly injured in the making of this film, but I do not get the impression that LaMorisse staged the fight for pack leader. The fight is brutal with the horses biting one another in an attempt to dominate. Its a nice corrective to the sanitized friendly horse image splashed across lunch box and Trapper Keeper.
"White Mane" is presented in black and white and the scenes of Folco and his family are reminiscent of the familial moments from Ray's Apu Trilogy, unadorned and quietly observant. Storytelling is handled by a narrator who maybe gives us false hope in the film's conclusion. I was reminded of "Pan's Labyrinth" which presented two possible fates for its child hero. "White Mane" does the same, but I could not shake the feeling that the narrator was lying to me. Given the film's seemingly solid placement in the mundane, its insistence on the fantastic in its conclusion strikes the viewer as false. Ironic? Not likely, but maybe LaMorisse is trying to let his child viewers down easily.
The film's nature scenes are fantastic and the moments where White Mane fights for leadership of his clan are fascinating and brutal. Animals were clearly injured in the making of this film, but I do not get the impression that LaMorisse staged the fight for pack leader. The fight is brutal with the horses biting one another in an attempt to dominate. Its a nice corrective to the sanitized friendly horse image splashed across lunch box and Trapper Keeper.
"White Mane" is presented in black and white and the scenes of Folco and his family are reminiscent of the familial moments from Ray's Apu Trilogy, unadorned and quietly observant. Storytelling is handled by a narrator who maybe gives us false hope in the film's conclusion. I was reminded of "Pan's Labyrinth" which presented two possible fates for its child hero. "White Mane" does the same, but I could not shake the feeling that the narrator was lying to me. Given the film's seemingly solid placement in the mundane, its insistence on the fantastic in its conclusion strikes the viewer as false. Ironic? Not likely, but maybe LaMorisse is trying to let his child viewers down easily.
beautiful beyond belief
ptb-87 April 2009
I first saw this exquisite film in 1968 at an Opus Dei film night ! when my parents were palming me off to these mad institutionalized weirdos as some sort of babysitting service for teens. Fortunately the imagery of this glorious film lasted longer the their brutal effects... mainly because this truly great film is about the ineffectiveness of brutality on a smart strong sensitive teen. Such is the impact of this breathtaking perfect children's film that I actually have been yearning, quietly searching for CRIN BLANC for over 40 years ......and I have been lucky enough to re discover it again. On DVD in spectacular Black and White. I shall simply put my reaction to it as this: What I felt in my head and heart is what I hope I experience one day as I die. In fact as I die I simply want to drift off into 40 blissful minutes of the vision and emotion this film evokes. It is perfect. The sight of escaping on a white stallion into the sea after being pursued by idiots who want to trap me and the loving beast of life is what this film imparts on the viewer. For those who see this film as 'nothing' or a 'good way to kill 40 minutes'... well, have another hamburger and grab a coke and go to a multiplex and see a Nicholas Cage CGI fest. But leave CRIN BLANC to the poets of the world who know what it is to die intact with the love of freedom and beauty. My life is actually now complete now that I have rediscovered CRIN BLANC. There is nothing else in moviedom more rewarding, exquisite and emotionally fulfilling than experiencing this film. If you have an ounce of poetry in you or yearning for everything this planet is and stands for... well it is captured in CRIN BLANC. If you see it and know what I am imparting to you well then you get it. CRIN BLANC is what it is like to die satisfied.CRIN BLANC is our life in a children's parable.
A bit disappointing
MikeK-726 May 1999
Unlike THE RED BALLOON, this movie lacks the emotional feel, but the same passion is still here. The only real difference between this and RED BALLOON, is that this is in black and white and in the countryside, not in the city. Both movies virtually have no dialogue at all. If you want to cry, see THE RED BALLOON.
Not perfect, but very good
Atreyu_II8 February 2012
Albert Lamorisse is mostly known for his beloved classic 'The Red Balloon', but before that he made this 'White Mane', which is almost as good. Although 'White Mane' is not absolutely perfect, it certainly is and feels authentic. I could say this is a must for anyone who loves horses. It is, that I can't deny. But in my book one doesn't necessarily have to love horses to enjoy this. It's all a matter of liking this sort of films.
This short film is about a wild stallion in a wild region of France and his friendship with a fearless and adventurous young boy. The film tells how they meet and how they develop their friendship. This boy becomes the only human really worthy of the stallion's trust.
The beauty of the cinematography is one of the best things about this. What we see is pure and natural, a "wilder" France not often seen in movies (that is, as far as I know). The boy is wonderfully portrayed by Alain Emery. The boy and the stallion have a perfect chemistry.
This should definitely be on Top 250.
This short film is about a wild stallion in a wild region of France and his friendship with a fearless and adventurous young boy. The film tells how they meet and how they develop their friendship. This boy becomes the only human really worthy of the stallion's trust.
The beauty of the cinematography is one of the best things about this. What we see is pure and natural, a "wilder" France not often seen in movies (that is, as far as I know). The boy is wonderfully portrayed by Alain Emery. The boy and the stallion have a perfect chemistry.
This should definitely be on Top 250.
I wonder if horse tastes like beef?
planktonrules1 January 2009
Warning: Spoilers
I knew that my summary would get your attention! I wrote this because unlike many people who have some sort of romantic attraction towards horses, after reading about Napoleon's troops living on horse meat during their retreat from Moscow I always wondered how horse meat tastes. Sorry, but when others watch THE BLACK STALLION or MISTY OF CHINCOTEAGUE, I'm wondering if there's something like a rib-eye steak or chuck roast hiding within the title character! Yet, because of perhaps some innate love of horses, many would be horrified to think of eating one or not loving a film about horses. It's in light of the differing ways people think of horses that would account, perhaps, to some of the really divergent views on this film--as well as people ganging up on one reviewer who called it "a bit disappointing" and then receiving 26 of 27 scores as "not helpful". I've learned over the years that when it comes to horses, there are a lot of folks who adore them and you just can't argue with this connection.
When I watched WHITE MANE, I once again thought of hamburgers and brisket because I just don't get excited about horses in films (unless they are being ridden by John Wayne or Errol Flynn into battle). So, the story of some French peasant child loving a horse that all the local herdsmen want to kill did little for me--particularly the ending (which seemed either a bit silly or just slapped on because they ran out of things to say).
However, I also must admit that despite feeling almost no connection with this story, I had to admire the absolutely lovely film work. It is one of the best filmed black and white films I have ever seen--almost like a beautiful piece of art come to life. This, combined with nice music made for a lovely looking film.
Overall, if you love horses (and I DON'T mean in the EQUUS way), then by all means watch the film. You'll find the plot magical and the film will impress you no doubt. If, however, you are not a horse aficionado, then you still might want to watch it for its artistry but not its somewhat disappointing and rather schmaltzy story.
When I watched WHITE MANE, I once again thought of hamburgers and brisket because I just don't get excited about horses in films (unless they are being ridden by John Wayne or Errol Flynn into battle). So, the story of some French peasant child loving a horse that all the local herdsmen want to kill did little for me--particularly the ending (which seemed either a bit silly or just slapped on because they ran out of things to say).
However, I also must admit that despite feeling almost no connection with this story, I had to admire the absolutely lovely film work. It is one of the best filmed black and white films I have ever seen--almost like a beautiful piece of art come to life. This, combined with nice music made for a lovely looking film.
Overall, if you love horses (and I DON'T mean in the EQUUS way), then by all means watch the film. You'll find the plot magical and the film will impress you no doubt. If, however, you are not a horse aficionado, then you still might want to watch it for its artistry but not its somewhat disappointing and rather schmaltzy story.
A truly gorgeous film
howard.schumann25 July 2010
A young pre-teen is protective of a wild horse that is the target of horse traders in Albert Lamorisse's exquisite black and white film White Mane. The short 40-minute film, winner of the Palme d'Or at Cannes in 1953, preceded the director's masterpiece The Red Balloon by three years but is as simple, haunting and magical, telling a story of friendship and love that is filled with wonder and the innocence of a child's imagination. The film is set in the Camargue region in the southwest of France where marshes and barren landscapes convey a sense both of awe-inspiring beauty and of hardship and unexpected danger.
The horse, known as White Mane, though small is not weak and stands out for his fierce independence and disdain of man. He loves to run with the pack and refuses to be reigned in and controlled by the local ranchers who react to his willfulness with growing impatience and confusion. The boy, a fisherman named Folco (Alain Emery), lives close by in a small fishing village with his grandfather and younger brother (played by Pascal Lamorisse, the director's son who later played the boy in The Red Balloon) and watches the struggles of the men trying to tame the wild horse.
Folco, though small and slender, has many of the defiant qualities of the horse but is also gentle and very loving. His desire is not only to protect White Mane from the ranchers but to tame him and claim him as his own and the film explores their relationship which develops into one of friendship and mutual trust. One of the outstanding sequences in the film is the fight between White Mane and another stallion for leadership of the herd. Another great scene is when Folco lassos the horse who, startled, runs off, dragging the boy behind him through the mud. At last, the horse stops running and looks back at the mud-covered little boy as the two sense an immediate and intimate connection.
The ending is dark, perhaps too dark for many children, demanding of them a complexity that they perhaps are incapable of at a tender age. Yet the film does not patronize, introducing the viewer to the notion that standing up for what is right regardless of the outcome is one of the most important things in life and does not depend on age or strength. The poetic narration, delivered by Jean-Pierre Grenier and co-written by the acclaimed author and film critic James Agee, adds an extra dimension of sensitivity to the film that the viewer, whether child or adult, can immediately respond to. White Mane is a truly gorgeous film that will remain with you.
The horse, known as White Mane, though small is not weak and stands out for his fierce independence and disdain of man. He loves to run with the pack and refuses to be reigned in and controlled by the local ranchers who react to his willfulness with growing impatience and confusion. The boy, a fisherman named Folco (Alain Emery), lives close by in a small fishing village with his grandfather and younger brother (played by Pascal Lamorisse, the director's son who later played the boy in The Red Balloon) and watches the struggles of the men trying to tame the wild horse.
Folco, though small and slender, has many of the defiant qualities of the horse but is also gentle and very loving. His desire is not only to protect White Mane from the ranchers but to tame him and claim him as his own and the film explores their relationship which develops into one of friendship and mutual trust. One of the outstanding sequences in the film is the fight between White Mane and another stallion for leadership of the herd. Another great scene is when Folco lassos the horse who, startled, runs off, dragging the boy behind him through the mud. At last, the horse stops running and looks back at the mud-covered little boy as the two sense an immediate and intimate connection.
The ending is dark, perhaps too dark for many children, demanding of them a complexity that they perhaps are incapable of at a tender age. Yet the film does not patronize, introducing the viewer to the notion that standing up for what is right regardless of the outcome is one of the most important things in life and does not depend on age or strength. The poetic narration, delivered by Jean-Pierre Grenier and co-written by the acclaimed author and film critic James Agee, adds an extra dimension of sensitivity to the film that the viewer, whether child or adult, can immediately respond to. White Mane is a truly gorgeous film that will remain with you.
The first film I saw in a cinema.
zutterjp4814 November 2019
This comment will be a little personal: I was 6 or 7 years old when I went for the first time to a cinema and Crin Blanc was was then the first film I saw on a large cinema screen (at home we got our first television set at the beginning of the sixties). As far as I can remember it was a nice story of a boy and a wild horse in the Camargue.The director was Albert Lamorisse and another important name: Edmond Séchan, the director of photography of this film.
Very beautiful images of horses and the landscapes of the Camargue.
A beautiful and immensely charming film
TheLittleSongbird15 July 2014
Not quite as great as The Red Balloon and not as well-known, but White Mane is almost as good and does deserve to be better known than it is. It is a gorgeous-looking film, with the marshlands being both handsome and austere(emphasising the wildness of the two main characters and their adventures) and the black and white photography really is some of the best I've ever seen. White Mane is sensitively scored with a lovely whimsical tone, while the narration is thoughtfully written and poetic, telling the story without trying to explain too much. White Mane has a very sweet and touching story, the wonder of childhood is really charmingly depicted and the film shows also the beauty of nature that will leave one inspired. What was also appealing was the relationship between the boy and the horse which is what anchors the film, a familiar idea but you really do feel the friendship and love between the two. The pacing is deliberate but that said White Mane never came across as dull personally, the relationship between the boy and the horse, the way the film looked and how easy it was to get into the story and its emotions were utterly transfixing. Albert Lamorisse's direction is sensitive and in keeping with White Mane's poetic tone and the acting is great, especially from Alain Emery. He looked adorable and gives a spirited and touching performance, there are scenes where he doesn't say a word but his body language, eyes and face are genuinely telling throughout. The horse was clearly well-trained as well, and the chemistry between the two of them was magic. All in all, immensely charming and beautiful but also sadly criminally underrated. The Red Balloon is slightly better but if you loved that film you will find a huge amount to love about White Mane. 10/10 Bethany Cox
White Mane
CinemaSerf7 February 2024
When a beautiful, wild, white stallion is manoeuvred into a coral he steadfastly refuses to have anything to do with his new human captors - and pretty soon escapes their custody. The young fisherman "Folco" (Alain Emery) who lives with his grandfather nearby, watches these chases and soon becomes fascinated with this beautiful animal. He determines to try and make friends - but can it avoid the constantly pursuing, relentless, and increasingly cruel wranglers long enough to let him? This is where serendipity takes an hand and offers the young lad an opportunity, assuming he can master aquaplaning, to befriend the creature. There's some beautiful photography of the wild horses here - galloping, frolicking, rutting and the storyline is peppered with a gentle sense of humour. I am sure I even saw a look of disdainful pity coming from the horse as his personal gadfly persists, and persists. Whilst this is essentially a story about a boy's affections, it also invites us to remember that this animal has a place within the hierarchy of it's own kind, and it also has a need to be around them too. Some sort of balance might need to be in order for any satisfaction to be achieved - though maybe not quite the one we are offered in conclusion here!
Extraordinary images, similar outcomes
lionel-libson-13 March 2008
In the mid-fifties, Albert Lamorisse produced two beautiful, but strangely distant films, "The RedBalloon" and "White Mane". "Red Balloon" has been available and remained somewhat popular, while "White Mane" all but disappeared. Its re-emergence is welcome, as it offers intensely compelling black and white imagery, cinematography that is a cross between Ansel Adams and Atget, in its rich tones, dramatic light, and epic feel.
Red Balloon, offers an interesting contrast. Paris is all muted earth tones and grays, with the balloons offering the only vivid colors. It is also interesting to remember that World War II was less than a decade earlier.
Little Pascal, the director's son, is seen in both films, always appealing never "cute", but somehow distant. We don't really know him except as "the little boy".
The two films are wonderful artifacts from a time when film was more art than marketing.
Red Balloon, offers an interesting contrast. Paris is all muted earth tones and grays, with the balloons offering the only vivid colors. It is also interesting to remember that World War II was less than a decade earlier.
Little Pascal, the director's son, is seen in both films, always appealing never "cute", but somehow distant. We don't really know him except as "the little boy".
The two films are wonderful artifacts from a time when film was more art than marketing.
Visually Minimal Story of a Unique Friendship
iquine17 August 2020
(Flash Review)
In the same vein as The Red Balloon, there is a lone boy wandering alone. This time not the streets of France but the white plains in the country. He comes across a white haired horse and the slowly form a friendship. The horse had escaped a ranch and while the ranchers are unable to tame it, the boy shows kindness and the horse acknowledges his warmth by letting only him ride him calmly. Will the boy keep him or will the ranchers wrangle the horse back? The pace is slow and the scenery minimal which gives it time to quietly makes its point.
In the same vein as The Red Balloon, there is a lone boy wandering alone. This time not the streets of France but the white plains in the country. He comes across a white haired horse and the slowly form a friendship. The horse had escaped a ranch and while the ranchers are unable to tame it, the boy shows kindness and the horse acknowledges his warmth by letting only him ride him calmly. Will the boy keep him or will the ranchers wrangle the horse back? The pace is slow and the scenery minimal which gives it time to quietly makes its point.
Wild Horse Chase
nickenchuggets11 September 2022
Warning: Spoilers
I haven't watched many French films up until now, but this one might be enough to make me change my habits. White Mane is a quite short but expertly told story about a young boy and a horse whom he trusts with his life, even though the horse doesn't trust him (initially). It begins by showing a bunch of horses that live in a southern French marsh area. The most visually striking horse there, White Mane, is so named because he has the most impressive mane out of all the horses. A boy named Folco (Alain Emery), who's something of a fisherman, takes a small boat down a body of water in order to get a better look at White Mane, but some ranchers on horseback get to him first. They put him in a confined area, but White Mane, being a wild horse, doesn't like being contained. He breaks out, and while the ranchers are trying to chase him again, Folco speaks to one. The guy simply tells him he has a better chance of his fish learning to fly than ever catching that horse. As it turns out though, Folco does eventually try to lasso White Mane as the horse runs through several hundred feet of marshlands. Folco manages to hold on, and the horse stops running because he now trusts Folco completely. When White Mane later faces off against another horse from earlier in what looks like a rodeo arena, he loses. This leads to White Mane going back to Folco, with the latter noticing the ranchers have come back for his horse. They do something gravely immoral and burn the plant-filled area he and the other horses graze in. Folco journeys into this area while it burns, mounts White Mane, and rides him while the ranchers chase them both. At last, Folco comes to a dead end, with only the sea in front of him. The ranchers attempt to block his means of escape, but Folco would rather take his horse into the ocean than let him be caught. They jump into the strong current together, and as both the horse and the boy are carried away by the unforgiving waves, they're presumed dead. At least Folco has his horse forever now. This film was quite well made. I would say it's pretty unknown, with the entire thing being made in french, but even if you saw this without subtitles, it wouldn't be any less moving. It's a timeless story about how devoted an animal can be to a person, and vice versa. It's been said that a dog will die for its owner if necessary, but surely there are other animals that will make such a decision, and horses are probably one of them. After all, they've been used in warfare for centuries. They and humans ride and fight together. I thought it was interesting to find out how the Camargue region of france (where this was filmed) actually has a history of extremely formidable horses living there, and they're more agile and tough compared to normal ones. Overall, this film was a pleasure to discover on TCM one day, since the channel has a great track record of picking out really worthwhile films from distant time periods. No matter how obscure it is, if it's something that has stood the test of time, they will put it on the air.
white on white look
SnoopyStyle26 July 2022
A herd of horses roam free in the south of France. Men capture the herd but its leader White Mane refuses to be tamed. The horse manages to escape but the ranchers continue to hound him. A little boy from a fishing family is fascinated with the magnificent white horse.
This is a black and white French short. There is the visual of the all white horse with the blonde little boy dressed in all white. While visually interesting, it's not breaking any boundaries. It's the white on white look in a black and white film. The story is a little thin. It has a simple poetic resolution although a better written story could raise it up more.
This is a black and white French short. There is the visual of the all white horse with the blonde little boy dressed in all white. While visually interesting, it's not breaking any boundaries. It's the white on white look in a black and white film. The story is a little thin. It has a simple poetic resolution although a better written story could raise it up more.
Excels even the high standard of "The Red Balloon"
JamesHitchcock1 November 2014
Warning: Spoilers
"White Mane" was directed by the French filmmaker Albert Lamorisse, who also made the better-known "The Red Balloon" from three years later. The two films have several things in common, apart from the fact that both feature the name of a colour in their title. Both are very short ("White Mane", the longer of the two, only runs to forty-seven minutes) and have little in the way of dialogue. Both are centred upon the adventures of a young boy who finds an unusual playmate (a horse here, a seemingly- sentient balloon in the later film). Both are told in the form of a fable rather than of a realistic story, and have an enigmatic ending which can be interpreted symbolically.
There are, however, also a number of differences. "The Red Balloon" was set in Belleville, a working-class district of Paris. It was filmed in colour, but the colours, apart from the red of the balloon itself, are dull and muted, in keeping with the gritty urban setting. "White Mane", by contrast, was shot in black-and-white on location in a remote rural area, the marshes of the Camargue in the South of France.
The Camargue is noted for its herds of free-roaming wild horses, and the film tells the story of one of them, a white stallion called White Mane (Crin Blanc in French). A group of ranchers persistently try to capture him but White Mane, who distrusts men, always manages to escape. The only human who can tame him is a boy named Folco who lives in the marshes with his fisherman grandfather and younger brother.
The story is a simple one and the film has always been popular with children. As with "The Red Balloon", however, there is plenty of symbolism for adult audiences who like that sort of thing. The wild horse becomes a symbol of freedom; he resists the ranchers, who try to capture him by force, but he will submit to Folco who captures him through love. There may also be a specifically religious meaning behind the films, which starts with the colour-references in the titles; in Christianity red is the colour of martyrdom and white that of purity. Religious symbolism can be attributed to the endings of both films; here White Mane takes Folco through the sea (the waters of baptism?) to an island where "horses and men can always be friends", a possible reference to an afterlife.
Such attempts to attribute symbolic meanings to films, especially children's films, will always be controversial and there will always be ample grounds for disagreement about such matters. One area, however, which I suspect will give rise to little controversy is the film's visual impact. Lamorisse's clean, vibrant black-and-white photography is absolutely masterly, revealing the wild, lonely beauty of the marshes. It is the sort of film which one could, if one were in the mood, watch simply as a succession of striking images, without giving much thought either to the story or to its underlying meaning. In this respect I felt that "White Mane" excelled even the high standard of "The Red Balloon". 9/10
There are, however, also a number of differences. "The Red Balloon" was set in Belleville, a working-class district of Paris. It was filmed in colour, but the colours, apart from the red of the balloon itself, are dull and muted, in keeping with the gritty urban setting. "White Mane", by contrast, was shot in black-and-white on location in a remote rural area, the marshes of the Camargue in the South of France.
The Camargue is noted for its herds of free-roaming wild horses, and the film tells the story of one of them, a white stallion called White Mane (Crin Blanc in French). A group of ranchers persistently try to capture him but White Mane, who distrusts men, always manages to escape. The only human who can tame him is a boy named Folco who lives in the marshes with his fisherman grandfather and younger brother.
The story is a simple one and the film has always been popular with children. As with "The Red Balloon", however, there is plenty of symbolism for adult audiences who like that sort of thing. The wild horse becomes a symbol of freedom; he resists the ranchers, who try to capture him by force, but he will submit to Folco who captures him through love. There may also be a specifically religious meaning behind the films, which starts with the colour-references in the titles; in Christianity red is the colour of martyrdom and white that of purity. Religious symbolism can be attributed to the endings of both films; here White Mane takes Folco through the sea (the waters of baptism?) to an island where "horses and men can always be friends", a possible reference to an afterlife.
Such attempts to attribute symbolic meanings to films, especially children's films, will always be controversial and there will always be ample grounds for disagreement about such matters. One area, however, which I suspect will give rise to little controversy is the film's visual impact. Lamorisse's clean, vibrant black-and-white photography is absolutely masterly, revealing the wild, lonely beauty of the marshes. It is the sort of film which one could, if one were in the mood, watch simply as a succession of striking images, without giving much thought either to the story or to its underlying meaning. In this respect I felt that "White Mane" excelled even the high standard of "The Red Balloon". 9/10
Escaping into and onto....?
tim-764-29185619 May 2011
Warning: Spoilers
I have this as the adjoining feature to my DVD "The Red Balloon"' both written by Lamorisse. This is obviously in colour, while White Mane is in quite high-key black and white and this could have been to contrast the very different subjects and their treatment.
Often colour film stock is shot at the time as it's relatively easy to get a monochrome version from it but impossible the other way around.
It does work very well, though. And, to my mind and especially immediately after watching Red Balloon (for the 4th time) it had extra resonance.
The Balloon takes on a life of its own and gets captured, cornered, like an animal (I think of it as the boy's pet dog, obediently following him, as in Disney films of old) and on its expiration, a "pack" of fellow rubbery spherical objects gather together and rescue the boy from the bullies.
Similarly, the white stallion denotes freedom. It's wild, when very few horses, anywhere in the world, are. And, yet this is modern(ish) southern France, the Carmague. Schoolboy geography told me it to be a place of special beauty, for its flamingos and, yes, the horses.
As with any western, baddie guys want to round up and imprison this symbol of beauty and freedom. The un-tamable. Only this lad can - and does. After injury in a fight with an incoming stallion, our horse reaches to the lad for help with its injuries.
The final scenes are open to interpretation but to my mind are exactly as the boy in Red Balloon. But the outcome is exactly the opposite. Both the horse and the boy knew of their fate but free, together, they can never be captured. Nor their souls.
Often colour film stock is shot at the time as it's relatively easy to get a monochrome version from it but impossible the other way around.
It does work very well, though. And, to my mind and especially immediately after watching Red Balloon (for the 4th time) it had extra resonance.
The Balloon takes on a life of its own and gets captured, cornered, like an animal (I think of it as the boy's pet dog, obediently following him, as in Disney films of old) and on its expiration, a "pack" of fellow rubbery spherical objects gather together and rescue the boy from the bullies.
Similarly, the white stallion denotes freedom. It's wild, when very few horses, anywhere in the world, are. And, yet this is modern(ish) southern France, the Carmague. Schoolboy geography told me it to be a place of special beauty, for its flamingos and, yes, the horses.
As with any western, baddie guys want to round up and imprison this symbol of beauty and freedom. The un-tamable. Only this lad can - and does. After injury in a fight with an incoming stallion, our horse reaches to the lad for help with its injuries.
The final scenes are open to interpretation but to my mind are exactly as the boy in Red Balloon. But the outcome is exactly the opposite. Both the horse and the boy knew of their fate but free, together, they can never be captured. Nor their souls.
Reminiscent of Flaherty
zetes3 August 2008
I was introduced to Albert Lamorisse's wonderful The Red Balloon way back in grade school, and it's just something I never forgot. It was the first French film I ever saw, though I didn't know that at the time. It's too bad that Lamorisse didn't make this earlier film without dialogue, as well, because it would be just as well known as its brother. It has so little dialogue and narration as it is, it's just a shame Lamorisse didn't consider the universality that a lack of dialogue would give the film. I think I might even like White Mane a tad better than The Red Balloon. The simple story is about a wild stallion named White Mane who is being hunted by a gang of ranchers. The hunt is observed by a young boy (Alain Emery), who becomes fascinated with the horse. When the ranchers fail to capture White Mane, the boy goes after him. Lamorisse began his film-making career as a documentarian, and this film reminds me a lot of some of the faux-documentaries made by Robert J. Flaherty, particularly Louisiana Story. The black and white cinematography is some of the most gorgeous I've ever seen. If not for an abrupt and unsatisfying ending, this would rank among my favorite films ever.
Deserved the prize at Cannes
jacksflicks20 February 2014
Here is a child-and-horse story that goes beyond Hollywood clichés. It's idyllic and untamed, with an undertone of menace.
The somewhat artless execution is redeemed by the sublime theme and photography. And the ending blew me away.
Then, there's the wonderful acting of the principles. The boy is beautiful and earnest, his little family achingly sweet. Notice the little sister. At very young ages they tend to be undisciplined. But this tot is fully into her part, doubtless thanks to director Albert Lamorisse, who later directed his masterpiece, The Red Balloon. Of course the old grandpa is completely natural. The herders are less convincing as actors, though spectacular as horsemen.
The poignancy of the story reminds me of The Little Prince (book), also by a Frenchman. The French are very good at childhood themes. See Forbidden Games, War of the Buttons, the 400 Blows, the aforesaid Red Balloon, and Zero for Conduct, the masterpiece by Jean Vigo, whose eponymous prize White Mane won, as well as Cannes.
The somewhat artless execution is redeemed by the sublime theme and photography. And the ending blew me away.
Then, there's the wonderful acting of the principles. The boy is beautiful and earnest, his little family achingly sweet. Notice the little sister. At very young ages they tend to be undisciplined. But this tot is fully into her part, doubtless thanks to director Albert Lamorisse, who later directed his masterpiece, The Red Balloon. Of course the old grandpa is completely natural. The herders are less convincing as actors, though spectacular as horsemen.
The poignancy of the story reminds me of The Little Prince (book), also by a Frenchman. The French are very good at childhood themes. See Forbidden Games, War of the Buttons, the 400 Blows, the aforesaid Red Balloon, and Zero for Conduct, the masterpiece by Jean Vigo, whose eponymous prize White Mane won, as well as Cannes.
Masterpiece
theognis-8082126 July 2022
After showing his new film in Dallas in 1973, "Who Slew Auntie Roo?" Curtis Harrington joked that he had three rules for filmmaking: never make a movie with animals, never make a movie with children, and never make a movie with Shelley Winters. Albert Lamorisse violated two of these maxims with wonderful results. I can't thing of a more articulate, more valid film for children than this. Somehow, Lamorisse wrangled splendid performances from a young boy, Alain Emery and all the livestock, especially the star in the title role. The film teaches important lessons: oppression need not be accepted from even the cruelest of tyrants and that kindness is a form of power. The music, editing, and pacing are pitch perfect. Unforgettable.
White Mane
Michael_Elliott16 June 2008
White Mane (1953)
*** 1/2 (out of 4)
Classic French film about a young boy (Alain Emery) who becomes fixated with an untamable white stallion. Even though the adults can't tame the horse, the young boy will stop at nothing to get the horse to notice him and eventually the boy breaks the horse. This is from the same director who made The Red Balloon and I must admit that I enjoyed this one a little bit more. Outside of one sequence, which I'll talk about later, this film is pretty flawless and at times downright beautiful. The cinematography is top-notch and really makes some great atmosphere especially the scenes in the pond. The pond sequence happens near the beginning of the film and it shows the boy putting a noose around the horse, trying to capture it, but then the horse takes off running and drags the boy through the water as well as the land. I'm not exactly sure how this was filmed but it was quite beautiful. Another great sequence happens at the end when the boy is finally able to get on the horse and a wild chase follows. The only rather disturbing scene is when the horse gets into a fight with another horse and this goes on for a good amount of time and it gets quite violent. The two horses are violently kicking one another and biting each other and these bites lead to some blood flowing and this scene is rather hard to watch.
*** 1/2 (out of 4)
Classic French film about a young boy (Alain Emery) who becomes fixated with an untamable white stallion. Even though the adults can't tame the horse, the young boy will stop at nothing to get the horse to notice him and eventually the boy breaks the horse. This is from the same director who made The Red Balloon and I must admit that I enjoyed this one a little bit more. Outside of one sequence, which I'll talk about later, this film is pretty flawless and at times downright beautiful. The cinematography is top-notch and really makes some great atmosphere especially the scenes in the pond. The pond sequence happens near the beginning of the film and it shows the boy putting a noose around the horse, trying to capture it, but then the horse takes off running and drags the boy through the water as well as the land. I'm not exactly sure how this was filmed but it was quite beautiful. Another great sequence happens at the end when the boy is finally able to get on the horse and a wild chase follows. The only rather disturbing scene is when the horse gets into a fight with another horse and this goes on for a good amount of time and it gets quite violent. The two horses are violently kicking one another and biting each other and these bites lead to some blood flowing and this scene is rather hard to watch.
A horse of a different color
classicsoncall10 May 2019
Warning: Spoilers
I was drawn to this film after having watched director Albert Lamorisse's "The Red Balloon, a whimsical tale of a young lad's friendly relationship with an inanimate object. So I was already predisposed to another film with exceptional cinematography and distinctive imagery. There is no doubt that the filming is gorgeous, a high contrast black and white palette that sets off the stunning scenery of the Camargue, a marshland ares of southern France that borders the Mediterranean. The story is actually quite similar to that of Walter Farley's Black Stallion, both the novel and the film adaptation. A young boy admires a stallion in the wild and wishes to befriend the regal animal, even as herdsmen in the region attempt to capture it and perhaps do it bodily harm.
Observing the story objectively, there's a lot here that's disturbing, notwithstanding the young boy Falco's (Alain Emery) fascination and loving relationship with 'White Mane'. The fight between White Mane and the new leader of the herd is rather brutal, one can actually see White Mane biting into the flesh of it's opponent, and those violent kicks would certainly be enough to kill a human. That would probably be something too intense for a young child to watch, and while I thought the rabbit chase was a pleasantly humorous diversion, I had to do a double take when that same rabbit was observed somewhat later, skinned and roasting on a spit, on tap for Falco's luncheon menu. Not that it bothered me personally, but how would you explain that scene to a six year old?
But the thing that rather upset me was the conclusion of the film. Although the imagery in the closing scene suggests that Falco and White Mane have discovered a new found freedom having escaped the rabid herdsmen, if one is of rational mind extending the scene to it's ultimate conclusion, one would have to consider that both drowned in the turbulent waves of the Mediterranean. I hate to be a downer here with my analysis, but what else is one to expect? Otherwise though, it was a beautiful film.
Observing the story objectively, there's a lot here that's disturbing, notwithstanding the young boy Falco's (Alain Emery) fascination and loving relationship with 'White Mane'. The fight between White Mane and the new leader of the herd is rather brutal, one can actually see White Mane biting into the flesh of it's opponent, and those violent kicks would certainly be enough to kill a human. That would probably be something too intense for a young child to watch, and while I thought the rabbit chase was a pleasantly humorous diversion, I had to do a double take when that same rabbit was observed somewhat later, skinned and roasting on a spit, on tap for Falco's luncheon menu. Not that it bothered me personally, but how would you explain that scene to a six year old?
But the thing that rather upset me was the conclusion of the film. Although the imagery in the closing scene suggests that Falco and White Mane have discovered a new found freedom having escaped the rabid herdsmen, if one is of rational mind extending the scene to it's ultimate conclusion, one would have to consider that both drowned in the turbulent waves of the Mediterranean. I hate to be a downer here with my analysis, but what else is one to expect? Otherwise though, it was a beautiful film.
Wild Horses
RainDogJr6 July 2010
So, Lamorisse's (I'm just reading he created the game "Risk", now that's a piece of information!) WHITE MANE is older, and less famous (and less awarded. It's pretty unique the beginning of THE RED BALLOON with the listing of all of its awards [8 in total]. Here the listing is composed of only 2 awards), than his THE RED BALLOON (three years older, 1953 and 1956) but in the Janus Films DVD they don't come in a chronological order, as THE RED BALLOON is pretty much the main attraction. I, sort of, respected the order of the DVD and watched first THE RED BALLOON, so I was like, after watching WHITE MANE, "this is pretty much like a remake of THE RED BALLOON, only that here we don't have balloons but wild horses"
yes, both are quite similar in terms of the plot.
I think this could have been so much profound and touching with its same basic plot. One of the complaints of some other IMDb users about THE RED BALLOON is its thin plot for a whole half hour, but I didn't find in that a problem as the film is charming and funny with the simple adventures of a kid and his balloon, and for me it never felt overlong. However, I did feel that problem in WHITE MANE. It's even a bit boring at times, and I really think something is missing, I mean the thing is there with the kid (a fisherman from the south of France) who becomes the friend of a wild horse (this horse, White Mane, is a real definition of a wild horse. And is worth to mention that we have a sequence, like 3 minutes, of a horse fight... pretty strange) and the bullies (that certainly just won't stop in their way of, in this case, prove that no horse can be a "rebel" with humans) near them but like I said, something is missing, maybe something in the vein of its great, touching and meaningful ending.
I think this could have been so much profound and touching with its same basic plot. One of the complaints of some other IMDb users about THE RED BALLOON is its thin plot for a whole half hour, but I didn't find in that a problem as the film is charming and funny with the simple adventures of a kid and his balloon, and for me it never felt overlong. However, I did feel that problem in WHITE MANE. It's even a bit boring at times, and I really think something is missing, I mean the thing is there with the kid (a fisherman from the south of France) who becomes the friend of a wild horse (this horse, White Mane, is a real definition of a wild horse. And is worth to mention that we have a sequence, like 3 minutes, of a horse fight... pretty strange) and the bullies (that certainly just won't stop in their way of, in this case, prove that no horse can be a "rebel" with humans) near them but like I said, something is missing, maybe something in the vein of its great, touching and meaningful ending.
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