Customer Reviews

Equus [VHS]

5 star:		(24)
4 star:		(12)
3 star:		(5)
2 star:		(3)
1 star:		(5)

 

 

Absolutely stunning film version of the Tony-winning play. Richard Burton is fine as psychiatrist Dr.Dysart who tackles a disturbing case involving a young stablehand, Alan(Peter Firth) who has inexplicably blinded six horses. Alan has become obsessed with the mythological horse god Equus and secretly worships horses in religious/sexual frenzy. Dysart (who has problems of his own) tries to uncover what led up to the mutilations and discovers the boy's parents were aware of some of his strange rituals but coldly did nothing. Joan Plowright is excellent as the mother who reveals too late her own shortcomings. Beautiful Jenny Agutter is also fine as the girl whose seduction of Alan in the stables leads to the tragic occurrance... but Peter Firth is simply fantastic as the mentally fragile Alan. His performance carries the film and his role requires him to be nude through much of it. But titillating this is not. It is a wrenching film and the blinding of the horses is almost unbearable to watch. This is the kind of film that challenges the viewer and leaves much open for discussion. On that level alone, it is recommended highly. Others beware that the bizarre subject matter may put some viewers off. Nonetheless, it's an excellent film and an unusual journey into the psyche of a most unusual (and sad) young man. Excellent direction by Sidney Lumet. Rather "bare bones" DVD but it looks and sounds great. A collector's item.

Hollywood gets mixed reviews on its ability to present plausible psychiatrist-patient relationships on film. On the tacky end of the scale are DAVID AND LISA and FINAL ANALYSIS; on the "deeply moving" end of the scale are ORDINARY PEOPLE and GOOD WILL HUNTING. Most, like THE THREE FACES OF EVE fall somewhere in the middle--interesting though unsubtle stories that reduce the patient's neurosis to a single mystery that needs to be unlocked by an indefatiguable professional who is egoless and has the blank personality to prove it.

Sidney Lumet's adaptation of the Peter Shaffer's stage play EQUUS is exceptional for its ability to transport to film the full emotional complexity and intensity of a psychiatrist's relationship with one of his patients. And this is done almost entirely through the skill of the actors: Richard Burton as the psychiatrist Dr. Martin Dysart, Peter Firth as the disturbed stable boy who inexplicably blinded several of the horses in his care, Colin Blakely and Joan Plowright as the boy's religiously incompatible parents, and Eileen Atkins as a judge who has asked Dr. Dysart to take on this challenging case. This is not to minimize other contributions--the cinematography is exceedingly intelligent and unobtrusive. It's simply to say that Lumet seems to have realized that he had assembled a dream cast and made every effort to stay out of their way and to let each actor shine. Burton's performance is perhaps the best of his film career. Though intense at times, he is completely devoid of the stagey "haminess" that has marred some of his other film performances. Firth, as the patient, moves easily from jingle-singing dissociated boy, to surly rebellious youth, to a sort of highly eroticized mythic being. It is truly fascinating to watch. Because the psychiatrist has issues of his own, and because the story is as much about his coming to terms with his own demons as with those of his patient, EQUUS is not your typical Hollywood psychotherapy movie. It delves into the mythology and religion as well as the human condition. In the end, the film gives you a lot to think about after you've hit the stop button on your remote. A disturbing but powerful film.

This film has often been derided as lacking the emotional impact that the stage production contained (much of it deriving from the unconventional staging of the piece), but I think these criticisms are often misguided and, frankly, wrong.

The story is as strong as in the stage play: a burned-out psychiatrist (Richard Burton) takes on the case of a stable-boy (Peter Firth) who has blinded six of the horses in his care, and through his treatment of the boy, further exacerbating the psychiatrist's sense of detachment from the primitive side of his personality --a side he longs to be reunited with. In the process, we see how the twisted interrelation between sex, religion, guilt, parental love (or the absence thereof) and idolization (in most of its forms) combine to motivate an otherwise good teenager to commit such an act of cruelty.

The acting is absolutely flawless. Burton gives what may be the best performance of his career (and one which was inexplicably denied the Oscar) as the psychiatrist; Firth is his match as the inscrutable stable boy; and Jenny Agutter is superb as the young woman who unwittingly sets the final steps of the story in motion.

As for the complaints about the "staginess" of the film, Sidney Lumet's direction does a marvelous job at highlighting the contrasting personalities of Burton's and Firth's characters -- Burton's monologues shot in extreme close-up, highlighting the claustrophobic isolation into which his character has retreated; Firth, by contrast, given more leeway with the camera, only mirroring Burton's claustrophobia in those scenes in which his Freudian/religious guilt imposes itself upon him.

In short, Peter Shaffer's play is astounding material and it clearly survives its transition to film. Not a happy film, by any means, but certainly a brilliant one.

Esteemed psychiatrist Martin Dysart (Ricard Burton) takes on a case nobody else wants to deal with. Alan Strang (Peter Firth), an eighteen year old working at the local stables blinds four horses with a metal spike in an unpresidented night of unspeakable madness. As Dr. Dysart delves into the causes leading up to the event he soon realizes he is dealing with more than just a confused, emotionally unstable teenager. He has stumbled upon a shocking tale of intense spiritual devotion gone horribly wrong.

As the ongoing therapy with Alan reaches its climax Dr. Dysart finally comes face to face with the young mans' inner passion and divine obsession. An encounter which challenges Dysart to finally look into his own soul and confront his personal demons and loss of passion. As though peering into a mirror darkly it eventually becomes a case of "Physican Heal Thyself."

Truly one of the darkest, most penetrating journeys into a troubled mind you will ever view. Peter Shaffer's masterful screenplay along with director Sidney Lumet performing at the top of his craft have brought to life a harrowing vision not soon to be forgotten.

A flawlessly-written script with mythical undertones presented with brilliant performances -yet this is a very disturbing story for horse lovers such as myself. However, its passionate flow and the beauty of language and landscape keep one fixed to the screen. I would have liked to see the stage version, however I did not. But the outdoor scenes in this movie were stunning - and I would not have gotten that from a stage performance. This movie is high art.

There are two things I really love about the film version of EQUUS. (I haven't seen it onstage but I have read the play).

I'm a big fan of Richard Burton when he's "there" for a role.
What I mean by that is that Burton sometimes took roles that were so far beneath him for either money or something to do, like THE EXORCIST II or too many others.
But EQUUS, like BECKET and WHO'S AFRAID OF VIRGINIA WOOLF?, really taps into the pain and rage and helplessness that Burton allows to seethe to the surface.
Another great performance from him.

The second thing I like is the idea behind the story: I see EQUUS as a young man trying to find God--something to believe in--with a father who denies him that freedom. When the brusque father abruptly rips his son's painting of Jesus down, the son is made to feel that his spiritual side is weak and unacceptable. Then he replaces God with his private horse god Equus.
Burton's beaten, bankrupt doctor recognizes the passion of the boy...and sees the emptiness of his own "beliefs."
"His stare says, 'At least I galloped, when did you?'" Burton rages to a colleague.

As I see so many American children left to their own devices, the flood of MTV and the Internet and sewer entertainment and the indifference of their parents (how many boys are there out there with that strange Hitler fixation?), I see the conflict of EQUUS playing out every day all over this country.

Are you giving your kids something to live for?

When the time comes for you and personally decide to make a list of the most remarkable films in any age it' s impossible not including this cult movie. This is a tour de force film; complex and provided of multiple angles. A fascinating horror tale with an obsessed boy and his strange object of affection. The doctor will be involved at such level that... Well the rest runs for you.

Go for this adult drama and enjoy once more a superb performing of Richard Burton another actor who never won an Academy Award (incredible don't you?) and the supreme direction of this well deserved awarded in the recent entry: Sidney Lumet.

This original and bizarre story ia as good on film as it was on the stage.Although the subject matter is disturbing-the intentional blinding of several horses by a troubled youth-the
movie seems to transcend the average psyco-drama horror genre.
The two stars, Peter Firth and Richard Burton, are effective
as doctor and patient.Montgomery Clift once said "Richard Burton
does not act, he recites." Burton,however, is convincing as a
psychiatrist who seems as intensely fraught as his patient. There is also a good supporting cast and cinematography.

"Equus" restored my faith in Sidney Lumet after watching a few of his films that bombed. Lumet transfers the stage play beautifully to the screen, exploring an interesting case of a boy who has blinded six horses. Richard Burton is magnificent and one of the only actors that can carry on long-winded dialogues with conviction. Equally able is the deranged boy (played by Peter Firth) who cross-examines Burton, knocking him off his feet in a similar manner to Matt Damon in "Good Will Hunting."

"Equus" explores what it means to be normal. Burton's character realizes that being normal, to a certain degree, is having abnormalities. Peter Firth's character has a worship that is more passionate and alive than most human beings ever feel-certainly more than Burton's character. Burton longs to have the boy's passion and yet realizes that he is trying to free the boy from these feelings as he is doing so. He muses over the meaning of his life and the therapy he gives. If he can never understand "why" a child acts the way it does, is there any point to therapy?

While this movie starts out with a completely absurd and twisted plot, it eventually fades into a very believable plot line. As Burton pulls the information from Firth's head and we witness the boy's instable home life and threatening religious background, the plot becomes normal and we come to understand the boy's situation. The movie becomes clear as the boy's troubles become clear. The effect of this is that we experience the therapy along with Peter Firth. This is masterfully done and Lumet should be applauded.

My only complaint about the movie is that it is a little long-winded. However, the dialogue is top-notch and the acting is incredible. If you're a fan of Richard Burton and his monologue performances driven by a play-adaptation, get this film.

If a viewer did not know the film Equus was an adaptation of a play, it would become apparent rather quickly as the tone and dialogue are highly theatrical. The film explores the question of why a quiet teenage stable boy (played by Peter Firth) would suddenly go on a rampage and blind six horses. As the film moves along, the intriguing answer begins to unfold.

The boy is sent to a hospital where he is under the care of psychiatrist Martin Dysart (Richard Burton.) In treating the boy, Dysart begins to confront his own inner struggles, which are almost as, if not more, fascinating than the boy's. He wrestles with questions of how to live well and passionately and whether a sense of awe and connectedness are possible in the world. Is he (Dysart) a healer or a hack?

Whether you agree with Dysart's conclusions (playwright Peter Shaffer's conclusions?) or not, the film raises the questions very well--questions that are relevant and engaging to anyone.

Although highly dramatic and stylized at times, the film is true to its theatrical roots and it works. It is reminiscent of Ordinary People, taking a journey into the soul--if you liked that film, you will like this one as well. Highly recommended.