A biplane pilot who had missed flying in WWI takes up barnstorming and later a movie career in his quest for the glory he had missed, eventually getting a chance to prove himself in a film ... See full summary »
A mountain man who wishes to live the life of a hermit becomes the unwilling object of a long vendetta by the Crow tribe, and proves to be a match for their warriors in single combat on the early frontier.
In 1909, when young Paiute Indian Willie Boy returns to his California reservation to be with Lola, whose father disapproves of him, a killing in self defense takes place, triggering a massive man hunt for Willie.
Sonny Steele used to be a rodeo star, but his next appearance is to be on a Las Vegas stage, wearing a suit covered in lights, advertising a breakfast cereal. When he finds out they are going drug the horse in case its too frisky, he rides off into the desert...Written by
Colin Tinto <email@example.com>
One of three cinema movie collaborations of actor-singer Willie Nelson and producer-director Sydney Pollack. The three pictures are [in order]: The Electric Horseman (1979) (their first film), Honeysuckle Rose (1980) (their second movie), and Songwriter (1984) (their third and final flick). Nelson appears in all three pictures with lead starring roles in all but the first where Nelson had a supporting part. Pollack acted in three different capacities on the three films: as a director, an executive producer, and a producer respectively. See more »
The white splotch on Rising Star's face reverses itself in subsequent shots when Sonny releases him near the end of the movie. The splotch moves from Rising Star's right eye to left eye and then back again. See more »
I'm gonna get me a bottle of tequila and find me one of them Keno girls that can suck the chrome off a trailer hitch and just kinda kick back.
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The film's original soundtrack has been changed in different ways for its two DVD releases:
The Image DVD replaces Dave Grusin's beautiful "Freedom Epilogue" score music (where the horse is set free) with a reprise of "My Heroes Have Always Been Cowboys" by Willie Nelson, originally heard during the opening credits. This actually works well, though one wonders why a piece of original score had to be changed.
The newer Universal release goes a step further, removing "My Heroes Have Always Been Cowboys" from the opening credits (and in fact from the film completely) as well as "Freedom Epilogue" and replaces them both with a very inappropriate generic harmonica-driven instrumental which is meant to sound like a Willie Nelson song.
Everyone involved in "The Electric Horseman" is taking it easy. The film is just a lark for some very talented people, and while it does have its amusements it doesn't add up to much. Robert Redford plays a rodeo-star who steals his celebrated horse, planning to ride it up to hill country to release it in the wild, but he's dogged by inquisitive female reporter Jane Fonda. There's a message about wildlife to be had in Robert Garland's exceptionally thin script, which must have attracted both Redford and Fonda, but director Sydney Pollack wisely concentrates on the leads' budding romance, and the horse takes the proverbial backseat. Some of the repartee is sharp, but the movie doesn't particularly look good or seem fully thought out. As a result, it's unmemorable and undemanding, though not without minor enjoyment. **1/2 from ****
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