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"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…

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Patrice Leconte's "Monsieur Hire" is a tragedy about loneliness and erotomania, told about two solitary people who have nothing else in common. It involves a…

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* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.

They shot horses, didn't they?

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"They Shoot Horses, Don't They?"

Four Stars

Gloria Jane Fonda Robert Michael Sarrazin Alice Susannah York Rocky Gig Young

Cinerama presents a film directed by Sydney Pollack. Screenplay by James Poe and Robert E. Thompson. Running time: 123 minutes. MPAA Rating: PG.

Review / Roger Ebert (1970)

Erase the forced smiles from the desperate faces, and what the dance marathons of the 1930s came down to was fairly simple. A roomful of human beings went around and around within four walls for weeks at a time without sleep, populating a circus for others who paid to see them. At the end, those who didn't collapse or drop dead won cash prizes that were good money during the Depression. And the Depression, in an oblique sort of way, was the reason for it all. The marathons offered money to the winners and distraction to everyone else.

To be sure, some of the marathons got pretty grim. Contestants tried to dance their way through illnesses and pregnancies, through lice and hallucinations, and the sight of them doing it was part of the show. Beyond the hit tunes and the crepe paper and the free pig as a door prize, there was an elementary sadism in the appeal of the marathons.

Among American spectator sports, they rank with stock-car racing. There was always that delicious possibility, you see, that somebody would die. Or freak out. Or stand helplessly while his partner collapsed and he lost the investment of hundreds of hours of his life.

"They Shoot Horses, Don't They?' is a masterful re-creation of the marathon era for audiences that are mostly unfamiliar with it. In addition to everything else it does, "Horses" holds our attention because it tells us something we didn't know about human nature and American society. It tells us a lot more than that, of course, but because it works on this fundamental level as well it is one of the best American movies of the 1970s. It is so good as a movie, indeed, that it doesn't have to bother with explaining the things in my first two paragraphs; they are all there and that's where I found them, but they are completely incorporated into the structure of the film.

Director Sydney Pollack has built a ballroom and filled it with characters. They come from nowhere, really; Michael Sarrazin is photographed as if he has walked into the ballroom directly from the sea. The characters seem to have no histories, no alternate lives; they exist only within the walls of the ballroom and during the ticking of the official clock. Pollack has simplified the universe. He has got everything in life boiled down to this silly contest; and what he tells us has more to do with lives than contests.

Sarrazin meets Jane Fonda, and they became partners almost absentmindedly; he wasn't even planning on entering a marathon. There are other contestants, particularly Red Buttons and Bonnie Bedelia in splendid supporting performances, and they are whipped around the floor by the false enthusiasm of Gig Young, the master of ceremonies. "Yowzza!Yowzza!" he chants, and all the while he regards the contestants with the peculiarly disinterested curiosity of an exhausted god.

There are not a lot of laughs in "Horses," because Pollack has directed from the point of view of the contestants. They are bitter beyond any hope of release. The movie's delicately timed pacing and Pollack's visual style work almost stealthily to involve us; we begin to feel the physical weariness and spiritual desperation of the characters.

The movie begins on a note of alienation and spirals down from there. "Horses" provides us no cheap release at the end; and the ending, precisely because it is so obvious, is all the more effective. We knew it was coming. Even the title gave it away. And when it comes, it is effective not because it is a surprise but because it is inevitable. As inevitable as death.

The performances are perfectly matched to Pollack's grim vision. Jane Fonda is hard, unbreakable, filled with hate and fear. Sarrazin can do nothing, really, but stand there and pity her; no one, not even during the Depression, should have to feel so without hope. Red Buttons, as the sailor who's a veteran of other marathons and cheerfully teaches everybody the ropes, reminds us that the great character actor from "Sayanora" still exists, and that comedians are somehow the best in certain tragic roles.

And that's what the movie comes down to, maybe. The characters are comedians trapped in tragic roles. They signed up for the three square meals a day and the crack at the $1,500 prize, and they can stop after all whenever they want to. But somehow they can't stop, and as the hundreds and thousands of hours of weariness and futility begin to accumulate, the great dance marathon begins to look more and more like life.

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Susannah York, 1939-2011

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By Roger Ebert

Susannah York, the British actress who could plunge deep into drama and then skip playfully in comedies, died Saturday of bone marrow cancer. She was 72.

Raised in Scotland, a graduate of the Royal Academy of Dramatic Arts, she was 20 when she made her first important film, the classic "Tunes of Glory" with Alec Guinness.

She was to become an icon of 1960s British films in such titles as "Kaleidoscope," "A Man for All Seasons," "The Killing of Sister George," "Oh! What a Lovely War" and "The Battle of Britain." She memorably played a patient in John Huston's "Freud" (1962), starring Montgomery Clift. But it was as a newlywed struggling to win a marathon dance prize in the American film "They Shoot Horses, Don't They" (1969) that she won an Academy Award nomination.

In 1972 she won the best actress award at the Cannes Film Festival as a schizophrenic housewife in Robert Altman's "Images." Altman fulminated for the rest of his life that York and the film never received the respect they deserved.

York starred in films as recently as 2009, and did a great deal of London stage work and television. One success was Piers Haggard's "A Summer Story" (1988), adapted from the John Galsworthy story. Petite and lively all her life, her hair often in a pixie cut, she was a popular guest on British chat and game shows.

Married in 1960 to the actor Michael Wells, she had two children, Sasha and the actor Orlando Woods, before their divorce in 1973. She and her children had close-by homes near Clapham Common in South London, and Orlando told the Guardian: "She loved nothing more than cooking a good Sunday roast and sitting around a fire of a winter's evening. In some senses, she was quite a home girl. Both Sasha and I feel incredibly lucky to have her as a mother."

In private life she was a political activist, active in the Campaign for Nuclear Disarmament. She is survived by her children and two grandchildren.

Tom Jones (1964) Directed by Tony Richardson.

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Cannes all winners

The Festival International du Film, held annually in Cannes, France, has become the world's most prestigious film festival—the spot on the beach where the newest films from the world's top directors compete for both publicity and awards.

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Susannah York, "Gold"

"Gold" isn't exactly the best movie Susannah York has ever appeared in. But it brought her to Chicago on a promotional tour, and that was one considerable item in its favor. She sat cross-legged in a suite at the Whitehall, worked through a bunch of grapes and said "Gold" had been a good place to start again after two years away from the movies.

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