Directed byRelease dateRuntimeRYM RatingRankedLanguage Genres
Fernando Arrabal
22 November 1973
100 minutes
3.50 / 5.0 0.5 from 120 ratings
#74 for 1973, #4,241 overall
French, Danish, German



You are watching: I will walk like a crazy horse

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DescriptorsStudiosSoundtracksAlternate titles
France, Color
Babylone FilmsProduction CompaniesSociété Générale de Production
J'irai Comme Un Cheval Fou
I Will Walk Like a Crazy Horse (tr/en)Andrò come un cavallo pazzo (tr/it)Я пойду как бешеный конь (tr/ru)
khurcius Sep 17 2021 2.50 stars
Me acerco a esta película, que tanto me he demorado en conocer, con tanta aprensión y prejuicios a la contra, que, para mi sorpresa, observo que casi todos los motivos de desconfianza resultan desactivados y la experiencia, si no una revelación, al menos acaba resultando razonablemente grata. Arrabal muestra notables conexiones con el universo creativo de su amigo Jodorowsky y, aunque se divierte como un crío con el juego, ya por entonces un poco trasnochado, de épater le bourgeois, consigue trascender los excesos (truculencias caníbales, escatología, provocación a cuenta de una cierta imaginería religiosa) y toma algunas decisiones favorecedoras para el resultado final. Por ejemplo, poner toda esa catarata de imágenes al servicio de una trama esquemática, comprensible y, por momentos, extrañamente emotiva y espiritual. Las intenciones son transparentes, al igual que los símbolos. La rareza no implica ninguna restricción a la inteligibilidad.También hay que reconocer lo mucho que progresa el melillense respecto a su debut, Viva la muerte, en cuanto a desenvoltura en el uso de las herramientas específicas del cine: por extrañas que sean las cosas que suceden dentro del encuadre, el sentido de la progresión a través del montaje y la puesta en escena tienden al clasicismo.Hay que alabar también el hallazgo del diminuto y sensible Hachemi Marzouk, que logra una encarnación muy afortunada de la inocencia, la santidad alternativa y el permanente ánimo de juego. Una figura en perfecta contraposición a la del otro protagonista: tortuoso, edípico y misántropo, encargado a otro actor casi sin credenciales, George Shannon.
emerson1 Apr 16 2015 4.00 stars
“La télévision est une femme aveugle qui enseigne la philosophie et qui caresse les recoins les plus souillés de notre cerveau. »Inside outside. Television news are the link between events and people, the tongue spoiler: click to read here being nailed or torn away (preceding Salò o Le 120 giornate di Sodoma for that matter) is a link between inner thoughts and the outside world, Jesus’ mouth forced shut and his wounded penis work along the same lines.Inside and outside. Night and day with a handclap.Anyhoo, this movie is one heck of a trippy visual and metaphysical experience, easily reminding the LSD induced works of the great Alejandro Jodorowsky.Film stills
thrasher2809 Jan 14 2015 1.50 stars
The two main characters poop in a desert. Then there's some peeing. At one point, an obligatory satirical birth-of-Jesus scene shows the genital mutilation of a five year old boy. In another flashback scene (it's a half-flashback movie, incidentally, and the moments where a flashback is used seem to be randomized) a boy watches his mother get ejaculated on in the face. Then a donkey pees. Then a guy pees again. Then a naked woman climbs an awning to molest a hanging skeleton. Then more obligatory sacrilegious scenes. The main character has epileptic fits all the time. The ending scene involves the sidekick character eating the dead body, hands, brain, and organs of the main character. For about four minutes. Then he wraps himself in the man's intestines and dances. Then he has an epileptic fit and dies. The end.So let's recap, explicit real shots of men pooping and peeing, explicit real shots of a five year old boy's genitals, and an ending so gory it'd make Ruggero Deodato blush.W– what exactly is keeping this from being complete trash? I mean, isn't it obv–Oh wait, wait, sorry, I forgot about the heavy-handed symbolist political/religious satire. Sorry. Thank god, for a minute there, I thought this and the rest of Arrabal's catalogue were just mindless provocations hidden under the false pretense of being art. Thank god there's a deeper, more subtle meaning I've just invented to satiate my own arrogant, intellectual self-satisfaction.Also, the film goes in and out of being a reinterpretation of the Oedipus tragedy, and that's TOTALLY art.You just don't get it because you spend all your time watching Michael Bay films, and you wouldn't even watch a film if it had subtitles, and blah blah, blah blah blah, blah blah blah, *PFFFFFFPPPFFPFFFTTTTTTT* *SSSNNNNNNNIIIIIIFFFFFFFFFF* blah blah, blah!Now if you'll excuse me, I'm very busy drinking merlot and theorizing exciting new ideas in the innovation of modern art on a college grant.
biped Apr 12 2010 4.00 stars


See more: A Moment Of Silence Midnight Iii, My Thoughts On A Moment Of Silence: Midnight Iii

I WILL WALK LIKE A CRAZY HORSE, aka J'irai comme un cheval fou (1973), features yet another warped mother-son relationship that makes me wonder how much of it is also drawn from Arrabal's own experiences and/or hangups. The main part of the story, however, is like a wish-fulfillment dream that mixes the surrealism of his other work with the childlike fantasy of THE EMPEROR OF PERU, building to a bizarre yet oddly optimistic ending. After apparently murdering his rich, clinging mother and fleeing with her cash and jewels into the desert, Aden Ray (American actor George Shannon) encounters a primitive Pan-like troll named Marvel. This naive and gentle soul lives in a cave with his goat Theresa and various snakes, scorpions, and insects, and knows nothing of the outside world. When asked if he can read, Marvel responds, "What does 'read' mean?" Marvel asks about civilization, and as Aden tells him how wonderful it is we see people in gas masks making joyless love and racing around with shopping carts. Television, he explains, is "a blind woman who teaches philosophy and caresses the foulest recesses of our brains."Every time Aden describes the wonders of his world his words seem hollow and meaningless, although the naive Marvel finds them intriguing and funny. Fascinated by Marvel's utterly guileless innocence and mystical communion with nature, and reveling in the first taste of freedom that he's ever known, Aden nevertheless can't wait to introduce the eager naif to the big city, which, of course, will have consequences both delightful and dire. All the while, police continue to close in on the fugitive Aden, and his newfound happiness with his soulmate Marvel proves fleeting.While VIVA LA MUERTE was unrelentingly downbeat, this time Arrabal renders dreamlike images both dark and enchanting. The former dominates early on as we see some of the traumas that warped Aden's childhood, including the time he stumbled upon his mother (Emmanuelle Riva) being willingly sexually abused and degraded by the handyman. While she gets what is commonly known as a "facial", a distraught and confused Aden masturbates himself into a frothing epileptic seizure. Heavily symbolic scenes include the boy Aden as Baby Jesus, mouth taped shut, as his Virgin Mary mother drives needles into his penis, and the older Aden lying catatonic in his mother's arms as she lights his erect member like a candle. Yikes. It's no wonder that he fantasizes about nailing her outstretched tongue to a table.On a lighter note--traditionally handsome Aden and childlike dwarf Marvel make quite a pair. Their first meeting is hilarious--Marvel offers Aden some food, which he likes. What is it, he asks. "I wrapped it in rose petals," Marvel says proudly. "A little flour...mixed with goat shit." Aden watches in wonder as Marvel greets the morning by twirling ecstatically like a top beneath the rising sun until he levitates. Some blind desert dwellers arrive and implore him to heal them, which he does by dabbing their eyes with his saliva. Hachemi Marzouk is perfect in the role--you can't help but be captivated by this grotesque little bundle of joy as he scurries around with no ambition whatsoever except to know and give happiness, and dispensing miracles without a second thought. "What is happiness?" he asks, and while Aden ponders the question, Marvel answers it himself by scampering down a sand dune with joyful abandon.When the two arrive in the city, we fear that the awestruck Marvel will be corrupted by its sin and temptation. Yet it's as though he has a force-field of innocence that prevents this from happening. When a scheming circus owner tricks him into dancing around in boxer shorts for paying customers, Marvel not only enjoys the experience but shares his joy with everyone else by releasing some lions from their cages, causing a panic. Aden keeps trying to get unwilling hookers to give him his first sexual experience, yet Marvel, with his sweet personality, manages to snag a beautiful woman into a whirlwind marriage ceremony presided over by his goat. One of the most vividly moving sequences takes place in a church after Marvel impulsively insists on attending mass. As a dour priest haranges his flock about their impending damnation, the tearful Marvel approaches a large crucifix and gently removes the crown of thorns and a nail from one hand, magically drawing blood. "Blasphemer!" everyone angrily accuses, yet for a moment we see the image of a loving Christ smiling down upon him. After the on-the-nose autobiographical odyssey of VIVA LA MUERTE, I WILL WALK LIKE A CRAZY HORSE finds Arrabal beginning to express other feelings in other ways. The final gripping minutes are both horrifying--some will find them utterly disgusting--and inspirational, climaxing in a thrilling moment of hard-earned transcendence. The horror has barely faded before a happy ending leaves us smiling, and the swirling maelstrom of Arrabal's imagination seems to have been allowed a brief moment of peace.