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https://mywalkinmanhattan.com/2023/11/10/day-two-hundred-and-eighty-five-halloween-private-members-night-at-the-metropolitan-museum-of-art-october-30th-2023/
|
en
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Day Two Hundred and Eighty-Five Halloween Private Members Night at the Metropolitan Museum of Art October 30th, 2023
|
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2023-11-10T00:00:00
|
Halloween at the Met is truly amazing.
|
en
|
mywalkinmanhattan
|
https://mywalkinmanhattan.com/2023/11/10/day-two-hundred-and-eighty-five-halloween-private-members-night-at-the-metropolitan-museum-of-art-october-30th-2023/
|
Met After Hours Event on Halloween
I was invited to a Metropolitan Museum of Art Private Members Night the night before Halloween, known as ‘Mischief Night’, where more tricks than treats are part of the fun. The museum has these private nights so that members can enjoy the museum on their without the huge crowds that come during the day. These events are so popular now and they have adjusted the hours to 7:00pm-10:00pm where working people can now enjoy the evening.
The Met lit at night for the Private Members Night did look a little spooky but a festive environment was inside waiting for us. A giant house of mystery awaiting us with treasures inside.
The lines started to fill as we entered the museum at 7:30pm. I got there after my Digital Marketing class at NYU was over. All the tricks and treats of the museum were open to members who entered the front door if they dared!
The very festive entrance of The Met at the information booth represented the coming of fall and the Halloween and Thanksgiving holidays.
The beautiful Fall arrangements in The Met’s nooks. It really made the night festive.
The first exhibition that I visited was “The Northern Renaissance European Sculpture and Decorative Arts 1520-1630” and the exhibition held some of the most exquisite art of the collection. Beautiful decorative objects with the detailed work in the permanent collection. These treasures were gathered in one spot to show their true beauty.
The sign for ‘The Northern Renaissance European Sculpture and Decorative Arts 1520-1630’ exhibition
The craftsmanship of these objects were some of the most sophisticated of the era and royals competed to have the most beautiful objects adorn their homes. Some of the objects were pulled from the permanent collection and are different parts of the museum but when housed together they really make a statement of the quality and precise workmanship. These objects made a statement of the owners and who they were in society.
Decorative cups and goblets
Description of the cups
Decorative clocks and watches
A jewel encrusted Chalise.
“Diana and the Stag” by artist Joachim Friess.
https://www.metmuseum.org/art/collection/search/193623
One of the most detailed pieces of the show was “Diana and the Stag”. The craftsmanship of the piece was amazing and it is such a beautiful piece.
The silver Diana and the Stag art object.
The next room I went to was the Wrightman Wing down the stairs to see Vertigo of Color” Matisse, Derain and the Origins of Fauvism. All these beautiful and bright colors in paintings from the French coastline.
The Vertigo of Color Exhibition in the Wrightman Wing of the Met.
My favorite piece and the painting that stood out the most was ‘Open Window Collioure’ by Henri Matisse. It was the most beautiful painting of the show.
“Open Window Collioure” is one of the most vibrant paintings in the show.
The other painting that really stood out in the exhibition was by artist Andre Derain.
https://en.wikipedia.org/wiki/Andr%C3%A9_Derain
The Andre Derain Painting “The Faubourg of Collioure”
The sign for the painting.
My next stop was the “Tree and Serpent: Early Buddhist Art in India, 200-400 CE” exhibition on the second floor. The display of Indian art was from all over the world and displayed some of the most unusual icons. The exhibition the immense craftsmanship of these early artists.
The entrance to the “Tree & Serpent: Early Buddhist Art in India 200 BCE-400 CE” exhibition.
The Railroad Panels of the exhibition
The Railing pillars of the exhibition.
The Railing pillar sign.
Statuary from the exhibition.
The Pillar Abacus with elephants venerating the Ramagrama stupa.
The Elephant Pillar sign.
The Drum Panels in the exhibition.
The Drum Panel signs.
The Stupa Panel at the exhibition. I thought this was the most impressive work in the exhibition.
The Stupa Panel sign.
After visiting the intriguing art of India and all the splendor that comes with it, I made my way back downstairs, bypassing the very busy “Manet/Degas” which I had already seen and I made my way back downstairs where the crowds were either heading to the bar area that had been set up in the middle of the museum or to one of the three restaurants that were open that night. The restaurant in the American Wing was only serving popcorn (at $6.00 a bag!!) or drinks as well as the Balcony Restaurant. This was a bit too much for me, so I decided to wait until I left the museum to have some dinner.
The last exhibit for the evening that I visited was the “Grounded in Clay: The Spirit of Pueblo Pottery” in the American Wing. These beautiful pots and decorative pottery is art from the Pueblo culture.
The entrance to the “Grounded by Clay: The Spirit of Pueblo Pottery”
The Gallery of Pottery in the exhibition
The “Bean Pot” by artist Lorencita Pino
https://www.adobegallery.com/artist/Lorencita_Pino190788469
The sign for the Bean Pot
Decorative pots that were part of the exhibition
The signs for the decorative pots.
The decorative pots of the exhibition
The Gallery in all its splendor that evening.
In the middle of the museum, the staff set up a festive Halloween bar for members to enjoy and relax. With a lively museum and even livelier cocktails, patrons conversed with their friends and made new ones. This whole part of the museum was alive with laughter and people having a good time before they had to deal with the trick or treating that awaited them the next week. It was a Spooktacular good time!
The cocktail party and bar on the main floor.
When we left the museum that night into the darkness that would become Halloween the next day, the museum employees wished us a good evening and gave us this sweet treat, a chocolate pumpkin that we were all munching on as we left the museum. It was the perfect way to end the evening. This is why I love the Met and have been coming here since 1973 and a member since 1993. It is a place of magic!
The delicious “Treat” we got when we left The Met that evening. The museum knows how to treat its members!
After the haunted night at the museum was over, I walked along the streets of the Upper East Side of Manhattan enjoying the decorations in preparation for Halloween the next day. Families really decorated their homes and the stores and brownstones were decked out for the Halloween holidays. This is becoming just as big as Christmas. Here are some of the great decorations that I saw that night.
Most of the these pictures were taken in the East 80’s and 70’s along the side streets between Madison Avenue and Third Avenue as I explored the neighborhood looking for the best haunts. People were really creative this Halloween.
Walking around the Upper East Side on Halloween week.
Halloween windows at a Park Avenue Florist during Halloween week.
Halloween decorations on the Upper East Side in the East 80’s.
Halloween on the Upper East Side in the East 80’s.
Halloween on the Upper East Side.
The haunting of the Upper East Side.
The haunting of the Upper East Side.
Caught in a spider web on the Upper East Side.
Ghosts protecting the entrance to the apartment building.
The haunting of the Upper East Side.
Escaping spider island on the Upper East Side.
Who says that New Yorkers are not creative? Decorating your home is not just for the suburbs.
Happy Halloween everyone!
|
|||||
661
|
dbpedia
|
2
| 4
|
https://westfieldheritage.ca/about/
|
en
|
About Westfield Heritage Village – Westfield Heritage Village
|
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[
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2024-10-26T00:00:00
|
en
|
https://westfieldheritage.ca/about/
|
Westfield Heritage Village Conservation Area is both a living history museum and a conservation area. As one of Ontario’s most fascinating historical destinations, it boasts a stunning collection of over 35 historical buildings that have been restored to capture early Canadian culture and is nestled against the backdrop of 204 hectares of conservation land featuring woodlands meadows and trails.
Historical buildings are not open on a daily basis, but visitors may walk through the Village, and enjoy hikes seven days a week. On special and event days, a selection of buildings will be open along with costumed interpreters providing demonstrations and guided tours.
More about the conservation area.
History of Westfield
D. Glenn Kilmer and Golden (Goldie) L. MacDonell, two Brantford high school teachers, purchased 30 acres in October, 1960 at the site which later became Westfield heritage Village. They envisioned a unique project which would develop a pioneer village as a non-profit educational institution to preserve and present the 19th century rural life in Upper Canada. Their vision became a reality when Westfield was officially opened to the public on June 15, 1964.
|
|||||||
661
|
dbpedia
|
0
| 17
|
https://conservationhamilton.ca/westfield-heritage-village-gate-attendant/
|
en
|
Westfield Heritage Village Gate Attendant
|
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2016-01-20T20:51:17+00:00
|
Westfield Heritage Village Gate Attendant HCA is currently seeking a part time Casual/Seasonal gate attendant for Westfield Heritage Village to work weekends from March to December, up to 8 hours […]
|
en
|
Hamilton Conservation Authority
|
https://conservationhamilton.ca/westfield-heritage-village-gate-attendant/
|
HCA is currently seeking a part time Casual/Seasonal gate attendant for Westfield Heritage Village to work weekends from March to December, up to 8 hours per week including Sundays and public holidays when the Village is open to the public.
Job Summary:
Westfield Heritage Village is an over 150 hectare property within the City of Hamilton, midway between Cambridge and Hamilton near Rockton. The property is owned and managed by the Hamilton Conservation Authority. Westfield operates as a living history museum and provides special events for the general public, educational programs for students, unique heritage activities, weddings, business rentals and filming opportunities. On average 40, 000 visitors come to Westfield each year.
The Gate Attendant is the first point of contact for visitors to Westfield and strives to create an excellent customer service impression in their greeting and interaction. The attendant collects admission fees, sells vehicle passes and provides information about the Village, the day’s activities and about the Hamilton Conservation Authority in general.
Duties:
Act as cashier at the entrance gate accepting payment for entry, annual membership pass sales, gift cards and other ticketed events.
Greet and respond to visitor’s needs and provide direction/advice. Give excellent customer service.
Operate a cash register, count floats, print daily cash reports, process credit card and interact purchases. The gate attendant will be required to set-up and maintain their cashier station.
To work together with all staff and volunteers and be engaged in activities related to revenue generation.
Contribute to general housekeeping duties. Carry out other duties as assigned.
Qualifications:
Previous cashier/gate experience related work with the public is an asset, but additional training will be provided.
Applicants must possess good communication and interpersonal skills. A friendly and pleasant personality is essential.
Accuracy and attention to detail for cash
Able to work alone or with a partner
Working Conditions:
This position will be based at Westfield Heritage Village reporting to the Visitor Services Coordinator. There is no public transportation to this location. Most of the work will be from a heated admission kiosk, but some of the work may be outside in a variety of weather and temperature conditions. This position involves working Sundays and holidays between 6-8 hours a week.
Rate of Pay:
This is a casual position based on minimum wage. There is an opportunity to buy a discounted annual membership pass to the Hamilton Conservation Authority and to receive discounted admissions to other area attractions. Westfield is largely staffed by over 400 volunteers who help to provide a fun, energetic and unique working environment.
Application Process:
If you are interested, please send your cover letter and resume in PDF or MS Word format via email by 4pm Friday February 12, 2016 to:
Hamilton Conservation Authority
Attn: Christina Jager, Visitor Services Coordinator
Westfield Heritage Village
Email: cjager@conservationhamilton.ca (please specify job title in subject line)
www.conservationhamilton.ca
Although we appreciate the interest of all applicants, only those selected for an interview will be contacted. Accessibility accommodations are available for all parts of the recruitment process; applicants are asked to inform Human Resources for any disability required accommodations in advance.
|
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661
|
dbpedia
|
3
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https://www.sftravel.com/article/guide-to-san-franciscos-historic-f-line-streetcar
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en
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Guide to San Francisco's Historic F Line Streetcar
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2022-10-08T16:43:27-07:00
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Hop aboard San Francisco's F Line streetcar and you'll be taken to some of the city's best restaurants, hotels, and attractions.
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en
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/themes/custom/sftravel_theme/favicon.ico
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San Francisco Travel
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https://www.sftravel.com/article/guide-to-san-franciscos-historic-f-line-streetcar
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What is the F Line?
The F Line streetcar is part of San Francisco's public transit system (known locally as Muni). The F Line runs from the Castro along Market Street to the Embarcadero, passing through Civic Center and the Financial District, before turning north and following the waterfront to Fisherman's Wharf. The F Line is also convenient for exploring Union Square and SoMa.
A collection of historic streetcars from all over the country have been restored, refurbished, and put back into service on the F Line. It's like taking a ride in a time machine!
So what's the difference between a streetcar and a cable car?
We're so glad you asked. Streetcars like the F Line run above ground and get their power from overhead electrical wires. While they come in many different color patterns, all of San Francisco's streetcars have a similar shape and size. They're about as big as a city bus and they look like they rode in right out of an old movie.
Cable cars, on the other hand, are smaller and boxier. They're also a bit more unique and recognizable (but don't tell the streetcars we said that.) Like streetcars, cable cars run above ground; but unlike streetcars, they are propelled by steel cables hidden beneath the pavement. When you ride a cable car (and you certainly should), that whirring sound you hear is the sound of the cable, ceaselessly spinning along its route to carry the cable car up the steep inclines of Nob Hill and Russian Hill.
How do I ride the F Line?
The F Line runs at street level, making it easy to spot. To board, look for a Muni stop with a sign for the F Line. Along Market Street, these are protected islands in the street that you can reach via crosswalk. Along the Embarcadero, there are protected stations with passenger waiting areas.
Simply board and pay using the MuniMobile app, a Clipper Card, or cash. A single adult ticket is $3 if paid in cash, $2.50 if paid via MuniMobile or Clipper Card. Youth (ages 5-18), seniors (ages 65+), and travelers with disabilities ride for less ($1.50 if cash, $1.25 if MuniMobile or Clipper). To learn about the MuniMobile app, click here. To learn how to purchase a Clipper Card, click here.
To request a stop, pull on the cord that runs the length of the streetcar to alert the driver. Carefully exit and be sure to look both ways before leaving the stop to continue your journey.
The F Line resumes operating on May 15, running from approximately 7 a.m. to 10 p.m. each day.
Union Square
If you disembark from the F Line at Powell Street, you'll be just a few blocks away from the shopping spree of your dreams. Your first stop can be the Westfield San Francisco Centre, home to hundreds of stores including Nordstrom and Bloomingdale's. Head north up Powell Street and you'll find yourself in the heart of Union Square, with luxury retailers like Dior, Tiffany, and Gucci all within a few tight blocks.
Powell Street is also where you can board a cable car. Enjoy the ride as you climb up and over the hills and sail down toward the bay.
Oracle Park (24 Willie Mays Plaza) - Home to the San Francisco Giants, Oracle Park is the most beautiful ballpark in the country. About a 15-minute walk from where the F Line stops at Third Street, a trip to Oracle Park is worth the effort. Great views, delicious food, and clean and safe facilities all combine to create a memorable game day experience.
San Francisco Museum of Modern Art (151 Third St.) - This stunning museum is itself a work of art. Renovated and expanded in 2016, SFMOMA contains modern and contemporary works in painting, sculpture, light art, photography, and more. Exit the F Line at Third Street and walk three blocks south.
Embarcadero/Financial District
The Exploratorium (Pier 15) - This museum is the world's foremost interactive science museum. More than 650 exhibits will ignite your curiosity, challenge your senses, and transform the way you perceive the world around you. It's fun, it's educational, and it's definitely family-friendly. The Exploratorium also hosts outdoor and after-hours programs for grown-ups. (Reopening Summer 2021.)
The Ferry Building (Market St. & Embarcadero) - At this iconic building, you can hitch a ride to Tiburon and Sausalito. Or, you can stay on San Francisco soil and enjoy perusing the food stalls and vendors serving up the finest cheeses, meats, wines, and even ice creams they have to offer. The Ferry Building also hosts an incredibly popular Farmers Market on Tuesdays, Thursdays, and Saturdays. Some of San Francisco's greatest chefs source their ingredients here to create their award-winning menus!
Where can I eat and drink along the F Line?
Each of the neighborhoods that the F Line passes through offer their own unique dining and drinking experiences. Here are just a few of them.
Castro
Beit Rima (138 Church St.) - Hailed as one of San Francisco's best new restaurants when it debuted in 2019, Beit Rima is still serving up its incredible Middle Eastern cuisine at its Church Street location. Proprietor Samir Mogannam turned the family business on its head; the site used to be home to a burger joint his father ran! Now, you can order falafel, baba ganoush, batata harra, and other specialties that celebrate the family's heritage.
Blackbird (2124 Market St.) - A quiet, cozy bar a few steps beyond the bright and bumping bars that make up most of the Castro, Blackbird has terrific cocktails—served hot or cold!—and a wine list that touches three continents. Impressive for a place so politely unassuming that you might walk right past it on your way through the neighborhood.
El Castillito (136 Church St.) - If you're looking to fill up at the start of your journey, then El Castillito is where to go. Their hefty burritos will stick to your ribs all day. Order any of their dishes "super" and you'll get sour cream, cheese, and guacamole added to your dish. Traditional favorites like quesadillas, tacos, fajitas, and enchiladas are also on the menu.
Charmaine's (45 McAllister St.) - This rooftop bar at the San Francisco Proper Hotel offers creative cocktails, an extensive wine list, and some of the most delectable small plates and bar bites you can find. On a hot afternoon or a crisp, clear evening, the views at Charmaine's can't be beat.
Rich Table (199 Gough St.) - Exceptional California cuisine, served fresh from the most local sources, is the order of the day at Rich Table. Take a chance on the sardine chips; they have the perfect balance of fishy flavor. Their porcini donuts are addictive and their aged beef wonton is equally enviable. For true decadence, though, order their ribeye steak, which is served with Dungeness crab bisque poured over the top of it!
Zuni Cafe (1658 Market St.) - A San Francisco institution, Zuni Cafe is best known for its roast chicken. Make sure you visit with plenty of time; the dish takes almost an hour to prepare. We promise it's worth the wait. Other menu highlights include roast rabbit legs and Merguez sausage. Zuni Cafe is also one of the most stylish restaurants in San Francisco, with its tall windows, high ceilings, and smooth copper bar.
Union Square
Campton Place (340 Stockton St.) - The Taj Campton Place Hotel is home to this award-winning restaurant that serves Cal-Indian cuisine. Their four-course dinner menu features fresh seafood, vegetables, and meats. They also offer a Spice Route menu that highlights the creations of Chef Srijith Gopinathan.
Sears Fine Food (439 Powell St.) - It may not have a Michelin star, but Sears does have its legendary Scandinavian pancakes that are absolutely worth the wait—and there will be a wait. Not to worry; breakfast is served every day until 3 p.m., meaning you can sample their signature dish at almost any point of your F Line journey.
Tacorea (809 Bush St.) - Mexican-Korean fusion is what you'll find at Tacorea. Whether you order kimchi burritos or a spicy pork bowl, you won't be disappointed by the flavor or by the size of your portions.
SoMa
Kona's Street Market (32 Third St.) - One of the newest establishments on this list, Kona's Street Market was created by the team behind Nob Hill's popular Pacific Cocktail Haven. Their cocktails are grouped on their menu by geographic influence. The drinks also bear creative names that reference some choice popular culture touchstones. A "Funky Cold Medina" or "Milk Was A Bad Choice", anyone?
Novela (662 Mission St.) - Feeling scholarly? The well-read crowd gathers at Novela in SoMA—or at least, that's what you'd expect, given its library-themed decor and menu. Cocktails are named for famous characters in literature, including Atticus Finch and Jo March. Novela is also beloved for its punches. These fruity, refreshing concoctions are like nothing else you'll find on tap.
Yank Sing (49 Stevenson St.) - There are plenty of places for dim sum in San Francisco, but none quite hold a candle to Yank Sing. Tucked away on Stevenson Street, the SoMa location is another good spot to take a group, if only because it increases your chances of trying everything on the menu! Traditional pork, shrimp, and chicken dumplings are accompanied by a welcome variety of vegetarian options. You can also treat yourself to other dishes, like egg noodle soup, fried tofu, and crab claws. Finish your meal with an egg tart to complete the experience.
Embarcadero/Financial District
Cafe Terminus (16 California St.) - At the foot of California Street, not far from where one of the cable car lines ends, is Cafe Terminus. Their drink menu features cocktails with bases of gin, vodka, bourbon, absinthe and mezcal, as well as beers both foreign and super-local.
Gott's Roadside - For traditional American favorites, visit Gott's Roadside in the Ferry Building. Juicy burgers, scrumptious fried chicken sandwiches, and heaps of fries are sure to please even the pickiest eaters in your crew. Gott's is also known for adding Impossible Burgers to its menu. These vegetarian burgers, made entirely from plants, are so deceptively good, we challenge you to tell the difference.
Tadich Grill (240 California St.) - The oldest continually operating restaurant in California, the team at Tadich Grill figured out what worked a long time ago and has never felt the need to rock the boat. The restaurant, its menu, and its staff have been a constant in downtown San Francisco for decades. Snag a seat at their enormous bar for wine and oysters and take in the controlled chaos around you, or opt for semi-private dining in one of their cozy booths.
Wayfare Tavern (558 Sacramento St.) - There's no bad time to stop at Wayfare Tavern for a meal, but we're partial to their weekend brunch. Between the brioche French toast, chicken and waffles, and bacon-wrapped scallops, you simply can't go wrong. The brunch cocktails are similarly indulgent; just try the bacon bloody mary. This Michelin-starred restaurant created by famed chef Tyler Florence is also a popular hang-out for happy hour. Their extensive beer, wine, and cocktails lists mean you never have to have the same drink twice.
Fisherman's Wharf
Palette Tea House (900 North Point St.) - Ghiradelli Square may be best known for its chocolate shop, but don't overlook this excellent dim sum restaurant. Authentic dishes prepared with modern ingredients populate the menu. The Palette team is especially proud of their xiao long bao sampler, their lobster dumplings, and their braised pork belly. They also have an incredible cocktail selection, curated by award-winning mixologist Carlos Yturria.
Scoma's (1965 Al Scoma Way) - Perched on the end of its own private wharf, Scoma's is a family-owned San Francisco institution. Serving up the freshest seafood, hauled in by its own crew on their own boat, Scoma's does all your favorites right: perfectly battered and fried calamari, deliciously thick clam chowder, and a towering crab louis salad, to name a few. Whether you dine outdoors or indoors, there isn't a bad seat for enjoying the panoramic views of the bay, theGolden Gate Bridge, and the hills and towns of Marin County beyond.
Which hotels are near the F Line?
The F Line is convenient to many San Francisco hotels.
If you're staying near Civic Center, consider the San Francisco Proper Hotel or the BEI Hotel San Francisco.
If you're staying near Union Square, you'll have plenty of options. The Grand Hyatt and Taj Campton Place hotels are just off the square on the Stockton Street side. On the Powell Street side, the Westin St. Francis Hotel holds pride of place. There's also the Marines Memorial Club & Hotel, and many more.
If you're staying in SoMa, indulge yourself in stylish accommodations at The Four Seasons, the St. Regis, the W Hotel, and the Intercontinental Mark Hopkins.
If you're staying in the Financial District, consider the Hyatt Regency, Hotel Vitale, Le Meridien, The Harbor Court Hotel, The Palace Hotel or Hilton San Francisco Financial District.
If you're staying in Fisherman's Wharf, choose from the Argonaut Hotel, the Hyatt Centric Fisherman's Wharf San Francisco, the Hotel Zephyr, and others. All offer convenience to the neighborhoods most popular attractions.
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dbpedia
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https://ucnj.org/parks-recreation/cultural-heritage-affairs/historic-sites-map/
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en
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Explore the Historic Sites of Union County
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2014-04-21T12:18:56+00:00
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There are more than 30 historic sites across Union County to visit. Explore stories of evolution and growth as told through these diverse sites, built over the course of four centuries. Find Sites …
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en
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County of Union
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https://ucnj.org/parks-recreation/cultural-heritage-affairs/historic-sites-map/
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Deserted Village of Feltville-Glenside in the Watchung Reservation ⭐
1 Cataract Hollow Rd., Berkeley Heights
908-527-4900 | www.ucnj.org/dv
This 1845 town was the creation of New York businessman David Felt. Today, it contains 10 buildings and the archaeological remains of a vibrant community populated, in part, by European immigrants. At its height, Feltville included a school, church/general store and a factory on the Blue Brook while rows of cottages housed workers and their families.
“King David” sold Feltville in 1860. After several failed enterprises, it was reborn in 1882 as Glenside Park, a summer resort. Adirondack porches transformed workers’ houses into vacation cottages enjoyed by city dwellers.
Suburbanization led to the resort’s closure in 1916. Today, the Deserted Village is nestled in the Watchung Reservation, Union County’s 2,142-acre nature preserve.
Dr. William Robinson Plantation Museum⭐
593 Madison Hill Rd., Clark
732-340-1571 | www.DrRobinsonMuseum.org
A rare example of 17th-century architecture in New Jersey, this post-medieval English-style house was built around 1690. A medicine room reflects the profession of Dr. William Robinson, one of the few physicians in East New Jersey at the time.
He practiced Physick, a popular form of healing with plants and herbs, and also performed Chirurgery, or surgery. Unusual architectural features abound, including wide floorboards and a 20-inch wide summer beam. The hall, with its large fireplace, is complete with period furnishing. A box-like winder staircase leads to the second floor, where Dr. Robinson’s last will and maps are displayed.
Crane-Phillips House Museum
124 North Union Ave., Cranford
908-276-0082 | www.cranfordhistoricalsociety.org
This American Civil War veteran’s cottage stands next to the Rahway River near the 18th century river crossing, “Crane’s Ford.” An outstanding example of Andrew Jackson Downing architecture, it is dressed in its original 1870s Victorian colors. The museum offers a rare glimpse of the life of a modest veteran’s family in the Victorian Era of opulence. Permanent and changing exhibits, featuring items from the Society’s costume, tool and local history collections, are displayed.
The House has been named to “Save America’s Treasures” by the White House and the National Trust for Historic Preservation. It is among only 27 such sites in the state of New Jersey, and it is the only “American Treasure” in Union County. Nearby, the Hanson House, Society headquarters at 38 Springfield Avenue, contains a library and archives.
Boxwood Hall State Historic House, Boudinot Mansion⭐
1073 E. Jersey St., Elizabeth | 908-282-7617
nj.gov/dep/parksandforests/historic/boxwoodhall.html
Prominent American statesmen of the late 18th and early 19th centuries had ties to this handsome Georgian house. In 1772, it became the home of Elias Boudinot, who served as a President of the Continental Congress. For a year during Boudinot’s residency, young Alexander Hamilton lived at Boxwood Hall while he attended school in Elizabethtown. George Washington lunched with Boudinot and a committee of Congressmen in 1789 while en route to his inauguration.
In 1795, the house was sold to Jonathan Dayton, signer of the Constitution, Speaker of the US House of Representatives and member of the US Senate. In 1824, Dayton hosted the Marquis de Lafayette during his American tour.
Siloam Hope First Presbyterian Church and Snyder Academy⭐
42 Broad St., Elizabeth | 908-353-2131
“Old First” remains at the center of Elizabeth Town, 350 years after a small group of Associates signed a treaty for the land on October 28, 1664, establishing the first English-speaking congregation in New Jersey. The original building was the weekday meeting house for public affairs, and a house of worship on Sundays.
The first Governor, Phillip Carteret, maintained his office there and the first meeting of the New Jersey legislature was held in 1668. The present sanctuary was opened in 1790 after the British burned the earlier buildings in 1780. A new steeple was installed in August 2008, replacing the spire lost to the fire in 1946.
Fanwood Train Station Museum
230 North Ave., Fanwood
908-322-8236 | www.fanwoodnj.org
In 1874 the right of way to the Central Railroad of New Jersey was moved from present day Midway Avenue to its current location. This Victorian Gothic structure was built and used as a railroad station until 1965.
The Station is an excellent example of frame Victorian Gothic architecture. It is the oldest remaining railroad station in Union County.
The museum houses artifacts documenting the Borough’s historic ties to the Central Railroad of New Jersey, and its land development company that constructed some of the Victorian and Queen Anne homes in the Fanwood Park Historic District.
Evergreen Cemetery
1137 North Broad St., Hillside | 908-352-7940 | Self-guided tour
When small church graveyards became too crowded, Evergreen Cemetery was created in 1853 as an interdenominational, rural burial ground.
Its picturesque landscape, designed to preserve the natural terrain and existing trees, reflects the romantic, Victorian view of death. Today, the cemetery’s expansive park-like grounds double as a nature preserve.
Mausoleums and more than 10,000 monuments make Evergreen a virtual museum of funerary art. Special sections, such as the plot devoted to Civil War soldiers, illustrate historical and social developments in American History. Drive by the English Tudor Chapel designed in 1932 by an Elizabeth architect, C. Godfrey Poggi, located at the Dayton Avenue entrance.
Woodruff House/Eaton Store Museum⭐
111 Conant St., Hillside
908-353-8828 | www.woodruffhouse.org
The Woodruff House was built in 1735 on land granted to John Woodruff in 1666. The first floor is furnished with circa 1800 antiques, including Woodruff memorabilia from the Earl and Lyon families. The house consists of the original 1735 side, an addition from 1790 and the 1900 Eaton Store. The restored Eaton Store illustrates a vast difference between a neighborhood store of the early 1900s and a supermarket of today. The store has the original counter, coffee grinder and gas lamp; the shelves are stocked with hundreds of products from long ago.
The property, originally an apple orchard, now has a reproduction post and beam barn with various items on display, old farm equipment, a two-seater privy, water pump, well and archival center. The Phil Rizzuto All Sports Museum houses a collection of memorabilia from Hillside resident and Baseball Hall of Famer, the late Phil Rizzuto, along with some memorabilia from other Hillside sports figures.
Oswald J. Nitschke House
49 South 21 St., Kenilworth
908-276-9090 | www.kenilworthhistoricalsociety.org
The Nitschke House (c. 1880) is one of Kenilworth’s original clapboard, wood-frame farmhouses, and represents the architectural style typical of homes built in the area in the 1800s. The house is named for one of Kenilworth’s pioneers, Oswald J. Nitschke, who owned the home and resided there in the early 1900s.
He advocated the 1907 incorporation of Kenilworth and was elected to the first Council, serving more than seven years. A three term mayor, Nitschke was responsible for development of the unique 120’ wide Boulevard and its extension through the Union County Park System.
The Kenilworth Historical Society has restored the house and transformed it into a “living history” museum and cultural center.
Deacon Andrew Hetfield House⭐
Constitution Plaza, Watchung Ave., Mountainside
908-789-9420 | www.mountainsidehistory.org
Originally constructed by Deacon Andrew Hetfield in about 1760, this house expanded in stages to meet the needs of the Hetfield family during their 186 year occupancy. By 1830, a simple colonial farmhouse had been transformed into a center-hall Georgian residence.
Also known as the “Dutch Oven House”, the building has been moved twice, first to protect it from a Route 22 widening. Used briefly as a tea room and antiques shop, the house was once rented to MacKinlay Kantor, author of the Civil War novel, Andersonville.
The structure was saved from demolition in 1985, when it was moved a second time to another part of the original Hetfield property.
Salt Box Museum⭐
1350 Springfield Ave., New Providence
908-665-1034 | www.newprovidencehistorical.com
When two houses constructed at different locations during the 1840s were joined in the mid-19th century, the house, now known as the Salt Box Museum, was created. The house’s shape, with its steep, sloping rear roof, resembles the box in which salt used to be kept. In 1967, the entire house was moved across Springfield Avenue to its present site.
Today, the first floor is furnished to represent a typical New Jersey farmhouse of the mid-19th century. The Mason Room at the New Providence Library, 377 Elkwood Avenue, houses the Society’s collection of rare documents, maps, photographs and oral history tapes.
Drake House Museum⭐
602 West Front St., Plainfield
908-755-5831 | www.drakehouseplainfieldnj.org
The Nathaniel Drake House, headquarters of the Historical Society of Plainfield, was built in 1746. Nestled within the towers and slate roof is the original farmhouse once used as George Washington’s headquarters during the Battle of Short Hills, June 25, 1777.
In 1864, John S. Harberger, a New York City bank president, enlarged and embellished the house in the Victorian style, making it his summer home during Plainfield’s development as a commuter suburb.
Today, period rooms portray both the farm life of the Drakes and the suburban life of the Harbergers. Significant American paintings, folk art, period furniture and decorative pieces make this site a museum of both history and art.
Plainfield Quaker Meetinghouse
225 Watchung Ave, Plainfield
908-757-5736
www.plainfieldquakers.org
This is the New Plainfield Meetinghouse, built in 1788. The Quaker Meeting itself dates back to 1686 at Perth Amboy, with four meetinghouses built before it as Europeans moved inland from the coast. The forty years preceding this meetinghouse’s construction had been difficult for local Friends (Quakers). The Meeting had addressed the issue of slavery, requiring members to either free their slaves with the promise of continued support, or to leave the fellowship — which some did.
Originally, the meetinghouse was set on three acres. The street in front was called “Peace Street.” It was “The New Plainfield Meetinghouse,” and the town that grew up around it took the name. In 1832, a portion was lost to first the railroad, and then to 3rd Street. Later, the Friends lost the northern portion to the post office. During the racial strife of the 1970s, the Meetinghouse was a place of peace. Friends kept the meetinghouse open. When the National Guard arrived, Friends convinced soldiers not to go out on patrol, but to simply wait in case trouble arose, which it did not.
The Meetinghouse is available to community groups.
duCret School of Art
1030 Central Ave., Plainfield
908-757-7171 | www.ducretarts.org
Designed by the architectural firm of Rossiter and Wright, this building was constructed in 1896 in the Colonial Revival style as a home for George and Harriet Strong. The house served as private residence until 1931. In 1933, the house was purchased and converted into a private school for boys, Wardlaw-Hartridge.
The duCret School of the Arts is the oldest arts school in New Jersey. Originally founded in 1926 by artist and teacher Marjorie Van Emburgh, it was first located in a carriage house in Plainfield. The Van Emburgh School of Art became the Van Emburgh/duCret School of Fine and Industrial Art, and moved into this building in 1970.
Merchants and Drovers Tavern⭐
261 Central Ave., Rahway
732-382-0541 | www.ebenezeramechurch.com
As a Tavern and Stagecoach stop, this early 19th-century hotel was the scene of auctions, public meetings, elections, business transactions, entertainment, horse breeding and a host of other activities.
The handsome Federal style inn contains a taproom, two parlors, 12 bedrooms and a kitchen wing with a working fireplace. Originally a house and store, the 1790s structure was adapted to tavern use in 1798.
A circa 1820 addition created the imposing building that stands today, its four stories making it a rare example of an early public house. The smaller, mid-18th century Terrill Tavern was moved to the property in the 1970s where it now stands as the museum shop.
African American History and Heritage Learning Center
261 Central Ave., Rahway
732-382-0541
www.ebenezeramechurch.com
Construction began on the one-room school house in 1844, on the property of Jacob R. Shotwell, a former Vice President of RSI Bank. The primary funding, support and oversight for the school came from the Society of Friends (Quakers), who had a history of supporting persons of color. The Friends paid the school’s expenses and the salary of Miss Martha (Matilda) Putnam, who served as both teacher and principal.
The school had an average enrollment of 35 students, and eventually received financial support from state public education funds. In 1882, the school was integrated, and by the mid 1880s, it closed. In the years that followed, Ms. Lucy H. Eddy, a local philanthropist from the neighborhood established the “Rahway School for Colored Children Trust Fund” that helped to preserve books and artifacts left from the school. These items are currently being stored at the Rahway Library, but will serve as the basis for the restoration and the holdings of the newly envisioned African-American History and Heritage Center of Rahway, NJ.
Union County Performing Arts Center
1601 Irving St., Rahway
732-499-8226 | www.ucpac.org
This classic Vaudeville house opened as the Rahway Theater on October 16, 1928 and featured a magnificent Wurlitzer pipe organ. This organ was the catalyst for the preservation effort from which the 1,300 seat Arts Center emerged. Carefully restored to its golden age of grandeur, the Arts Center is a monument of an age gone by.
The Union County Performing Arts Center is a non-profit 501(c)(3) corporation operating in the historic Rahway Theatre. Enjoying a prime location in Union County, UCPAC is dedicated to making this landmark theatre your choice for the performing arts – for education, inspiration and entertainment. This historic landmark is the cornerstone of the Rahway Arts District.
Abraham Clark Memorial House⭐
101 W. 9th Ave., Roselle
732-221-7211
Abraham Clark boldly demonstrated his support of the Revolution as a New Jersey signer of the Declaration of Independence. He was born in what is now Roselle on February 15, 1726, the only child of Thomas Clark. He became a surveyor and studied common law. Clark and his wife Sarah raised ten children in their farmhouse, built in 1705.
The house burned in 1900, but a replica was constructed in 1941. The original house stood a short distance from the current site on what is now Crane Street, near Wheatsheaf Road, which was known as Springfield Road in Colonial times. The design of the house was based on old photographs and existing known facts from later owners and residents. The lot on which it stands was donated to the Abraham Clark Chapter of Sons of the American Revolution (SAR) by Mr. William M. Crane, once a part of the original Clark Farm in the eighteenth century.
The Office of New Jersey State Society of the Sons of the American Revolution (SAR) and its Archives are located at the Memorial House.
Roselle Park Museum
9 W. Grant Ave., Roselle Park | 908-245-1776
The Roselle Park Museum displays photographs, documents and memorabilia related to the history of Roselle Park and offers changing exhibits of topical interest. Our borough was shaped by the railroad, and by the 1860’s, the station along Central Railroad of New Jersey had become the nucleus of a small village. Farming remained prominent in the 1880’s.
By 1883 the Charles Stone Store on Westfield Avenue became the first store in the world lighted by Edison’s incandescent lamp.
Industrial development along the railroad corridor included the Marconi Wireless Telegraph Company of America, established in 1912, which manufactured much of the wireless equipment used in WWI. David Sarnoff worked at this facility as Commercial Manager and later became Chairman of RCA. RCA’s radio station WDY, housed in Roselle Park’s Marconi facility, became one of the earliest licensed broadcasting stations in the United States.
Osborn Cannonball House⭐
1840 Front St., Scotch Plains
908-757-1885 (weekend) | www.historicalsocietyspfnj.org
The white clapboard Osborn Cannonball House is a small jewel in the center of Scotch Plains. Brick walks, an arbor and formal gardens surrounded by a white board fence give this property a “Williamsburg” feel. Its location, adjacent to the town green and across from the Stage House Inn, adds to its interest.
Inside, four furnished rooms appointed with colonial and early 19th century furnishings will delight the visitor. A parlor reflects Victorian tastes. Built in the 1700s by Jonathan and Abigail Osborn, the house takes its name from the cannonball that struck it during a Revolutionary War skirmish.
Ash Brook Reservation – Battle of Short Hills
Historic Trail 1776 Raritan Road, Scotch Plains www.ucnj.org/trails
On June 26, 1777, on the plains below the Watchungs, General Washington’s Continental Forces of under 6,000 men fought a running battle with combined British and Hessian Troops numbering nearly 12,000. Gen. William Howe, feigning a retreat, sought to lure the colonial forces to the lowlands and crush them.
What started in Metuchen would soon make its way to the Ash Swamp, where delaying tactics gave Washington’s troops and local militia enough time to return to the safety of the Watchungs. Ash Brook is now one of the stops along the new Battle of the Short Hills Historic Trail.
Frazee House⭐
1451 Raritan Rd., Scotch Plains
www.frazeehouse.org
The Frazee House is a Revolutionary War period farmstead built in the typical and rare style of eighteenth-century Anglo-Dutch architecture. It sits in Scotch Plains at Two Bridges, near the intersection of Raritan and Terrill Roads, west of Ash Swamp. It is a Union County landmark due to its sheer survival for more than 230 years, and due to the tale of Elizabeth “Aunt Betty” Frazee’s legendary confrontation with British General Cornwallis during the Battle of the Short Hills in June of 1777.
“Aunt Betty” was baking bread for the Continental Army when the British approached from Ash Swamp, smelled the delicious aroma of baking bread and demanded the loaves. “Aunt Betty” refused, stating she would only give the bread in fear, not love. The British general and his troops marched on, leaving the bread behind. The most modern use of the house was as the business operation of the Terry-Lou Zoo on the 6-acre property from the 1970s through 1996.
The Fanwood-Scotch Plains Rotary Club committed to the restoration of the Historic Frazee House in 2004. The Rotary Club, along with the Township of Scotch Plains, hopes to turn the house and adjoining acres into a resource for the community, further distinguishing New Jersey as a key site in the American Revolution.
Shady Rest Country Club
820 Jerusalem Rd., Scotch Plains
908-490-1577 | www.preserveshadyrest.org
In the mid 1700s, Ephraim Tucker Farmhouse was built on a thirty one-acre plot of rural landscape just outside of Westfield. In the early 1800s, John Locey purchased this property. It later become the George B. Osborn Tavern. In the late 1800s, the property was sold to the Westfield Golf Club and was converted into a 9-hole golf course, with the main farmhouse serving as the clubhouse.
During this time, a close-knit community of African Americans lived on both sides of the golf course. These residents created a path across the golf course to visit friends and relatives living in the area. During this time of segregation, African Americans were not allowed membership at this white country club
In September 1921, a group of prominent African-American investors known as the Progressive Reality Company, Inc., purchased the former Westfield Golf Club and created the Shady Rest Golf and Country Club. This club was established to provide recreation and entertainment for all ages. Activities included golf, tennis, horseback riding, skeet shooting, and a dining room, where club members hosted famous people such as W.E.B. DuBois, Count Basie, Billie Holiday, Ella Fitzgerald, Althea Gibson and others.
The Shady Rest was the first African-American-owned golf and country club in the United States. It was the home course to the first African-American golfer professional ever to play the U.S. Open, John Matthew Shippen (1879-1968).
Cannon Ball House⭐
126 Morris Ave., Springfield | 973-912-4464
www.springfieldhistoricalsociety.webs.com
This mid-18th-century house is one of four buildings in Springfield to survive being burned by the retreating British Army after the Battle of Springfield in June 1780. This was the final major battle of the American Revolution in this area. Seven of the eight rooms in this house are open to the public.
Exhibits feature furniture and artifacts including 18th- and 19th-century household items. Relics from the Battle of Springfield include the cannonball that lodged in the wall of the house.
Carter House⭐
90 Butler Parkway, Summit
908-277-1747 | www.summithistoricalsociety.org
Summit’s oldest house, built by Benjamin Carter in the 1740’s, was moved in 1986 from its original location near the Passaic River to its present site, part of the original Carter farm. An East Jersey cottage, it shows a Dutch influence that is unusual in this part of the state. A 1740-1820 kitchen, 1820-1860 dining room and late Victorian library are interpreted with antique furnishings.
The house is also the archival center of the Summit Historical Society. Collections document Summit’s early development as a resort and commuter suburb as well as the town’s more recent history.
Summit Playhouse
10 New England Avenue, Summit (908) 273-2192 www.summitplayhouse.org
Summit, a desirable commuter city, grew as new residents built lavish homes after the Civil War. The Summit Library Association, incorporated in 1874, kept its books in various locations, including a doctor’s office and a store, until George Manley offered a site for the library. Residents donated $3,720 to build the Richardsonian Romanesque structure designed by Arthur Jennings.
The library opened on June 10, 1891 and moved to a more spacious building in 1911. In 1918, the empty library building was leased for $1/year to the Dramatic Club (later incorporated as The Playhouse Association), which was formed as a relief organization during WWI. In 1960, Playhouse co-founder and benefactor, Marjorie Cranstoun Jefferson (1887-1988), donated funds that added a 120-seat auditorium to the original building. What had been the library is now the stage. Mrs. Jefferson directed over 130 plays during her career at the Playhouse.
Caldwell Parsonage⭐
909 Caldwell Ave,. Union
908-687-7977 | www.unionhistory.org or www.uniontwphistoricalsociety.webs.com
On June 7, 1780, after the battle of Connecticut Farms, retreating British and Hessian Troops passed the parsonage. A shot was fired through a bedroom window and Hannah Caldwell, the wife of James Caldwell, fell dead. Was it a mistake, or was it murder — an attempt to punish “the Fighting Parson” of the NJ militia and the Continental Army?
The British burned the Parsonage, the Connecticut Farms Presbyterian Church and other buildings in the area. The Parsonage was rebuilt two years later on its original foundation. An artist’s interpretation of Mrs. Caldwell’s death appears on the official Seal of Union County.
Today, the Parsonage contains furniture, clothing, personal belongings and other items relating to the families who established Connecticut Farms (which was incorporated as the Township of Union in 1808). Artifacts on display date from the 18th century to the early 20th century.
Liberty Hall Museum
1003 Morris Avenue, Union
908-527-0400
www.kean.edu
Built in 1772 on the eve of the American Revolution, Liberty Hall Museum at Kean University chronicles more than 240 years of American history. The former residence of William Livingston, New Jersey’s first elected governor and signer of the Constitution, Liberty Hall was originally constructed as a14-room home in the Georgian style, eventually expanding into the exquisite 50-room Victorian mansion you see today.
The museum houses extensive collections of furniture, ceramics, textiles, toys and tools owned by seven generations of the Livingston and Kean families. Descendants resided at Liberty Hall until 1995.
Miller-Cory House⭐
614 Mountain Ave., Westfield
908-232-1776 | www.millercoryhouse.com
Eighteenth-Century outbuildings, herb and kitchen gardens help create a colonial atmosphere at the Miller-Cory House, where interactive tours engage the imagination of children and adults. Built about 1740, the small, neat and authentically furnished farmhouse stands on its original site along the “road to the mountains.”
Visitors are introduced to colonial skills and practices as costumed interpreters recreate the daily chores and seasonal farm work of rural life in the Westfields circa 1740 – 1820. An education complex houses special exhibits
Reeve History & Cultural Resource Center
314 Mountain Ave., Westfield
908-654-1794 | www.westfieldhistoricalsociety.org
The Reeve History & Cultural Resource Center is located at the Westfield Historical Society headquarters. The Westfield Historical Society consists of the Reeve History & Cultural Resource Center (Reeve House) and the Miller Cory House Museum, located at 614 Mountain Ave, Westfield, NJ. The Reeve House is fully restored Victorian Italianate home, resplendent with many Victorian Antiques and artifacts from Westfield’s history.
The house originally built in 1872, was lived in until 1898 by the Stitt Family who owned the Westfield Hotel, and later by the Reeve Family from 1906 – 2001. William Reeve served Westfield through a variety of local projects including the establishment of the YMCA and the creation of Mindowaskin Park in 1918.
The Victorian home now serves the community as a historical resource center for Westfield as well as an exhibit center for special events throughout the year. A future educational facility which will also house the Westfield Historical Society archives, is in the funding stage and will provide for a museum and educational facility for the community to learn more about Westfield’s rich historical legacy.
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https://tourismhamilton.com/must-visit-hamilton-historic-sites/
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Historic Sites You Must
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2024-02-19T16:44:52+00:00
|
Discover how Hamilton's history has shaped the city it is today.
|
en
|
Tourism Hamilton
|
https://tourismhamilton.com/must-visit-hamilton-historic-sites/
|
Hamilton’s past has shaped the dynamic city it is today.
From our many designated National Historic Sites (15 at last check!) to our defining role as an industrial hub, Hamilton's roots tell a fascinating story about how the city has evolved into the destination it is today.
Sure, you can read all about it on your own. But that’s nowhere near as interesting as coming to visit in person to experience it for yourself.
Here are some top picks for the history buff exploring Hamilton.
1. Canadian Warplane Heritage Museum
Learn More
There's no place quite like it anywhere. Since 1972, the museum has pulled together an impressive collection of more than 40 vintage aircraft dating back to World War II, making it Canada's largest flying museum! You can do a lot more than just marvel at planes here. Climb into a cockpit, try a flight simulator, or even book a flight!
Don't Miss: The museum's biggest star is hands down the Avro Lancaster Bomber, the only surviving Lancaster in the world you can purchase a flight on. (The only other air-worthy Lancaster in the world is with the Royal Air Force in the UK).
2. Dundurn National Historic Site
Learn More
A visit to Hamilton isn't complete without a stop at one of the city's most iconic sites. The lavish, 40-room Victorian-era home overlooking the bay was the former home of one of Canada's first premiers, Sir Allan MacNab. It's Hamilton's own Downton Abbey!
The site was previously a key trading location for the Mississaugas and later, a fortified military encampment for British and loyalist soldiers during the War of 1812.
Don't Miss: Dundurn's two-acre Kitchen Garden is a destination unto itself where costumed interpreters use 19th Century tools and techniques to cultivate flowers, herbs, and food for use in the castle's kitchen and for the community. Come winter, the castle's Victorian Christmas program is a must-experience.
3. Westfield Heritage Village
Learn More
Unplug and slow down at this living history museum in Rockton in rural Hamilton. Costumed interpreters help bring early Canadian culture to life as they lead demonstrations on everything from blacksmithing to bread-making across 35 carefully restored historic buildings. The 130-hectare site is bordered by beautiful wooded trails and meadows.
Don’t miss: Favourite annual events like magical holiday programming, the Maple Syrup (winter) and Ice Cream (summer) festivals, make Westfield a year-round destination.
4. Battlefield House Museum & Park
Learn More
The 19th-century homestead, nestled under the scenic Niagara Escarpment and surrounded by acres of parkland, is a National Historic Site and local treasure. Once home to the prominent Gage Family, it was also the site of the pivotal 1813 Battle of Stoney Creek, a turning point in the War of 1812 where invading American forces were pushed back. The event is marked annually by the Re-enactment of the Battle of Stoney Creek.
Don't Miss: Be sure to visit the 100-foot tall Battlefield Monument erected as a symbol of peace and to commemorate the casualties of the Battle of Stoney Creek. Nearby stands the striking Eagles Among Us (more below).
5. Eagles Among Us
Learn More
This striking public art piece was commissioned by the City of Hamilton for Battlefield Park in Stoney Creek. The artwork by David M. General, an Oneida/Mohawk Indigenous artist and member of the Six Nations of the Grand River, consists of four, nine-foot-tall granite carved eagles inscribed with symbols and text around the theme of healing and reconciliation, inspired by the cultural traditions of the Haudenosaunee and Anishinabek communities.
Don't Miss: The site has since become an important place of reflection and gathering in Hamilton. In the artist's own words Eagles Among us is "an invitation to people to consider the history, look at how things were, look at how things can be made better by the generations today. It creates a special sacred space and you can stand in the middle of that".
6. Griffin House
Learn More
This National Historic Site shares the fascinating history of Enerals Griffin and other early Black settlers at this preserved home set on a hilltop overlooking the beautiful Dundas Valley. When closed, the museum can be experienced here virtually.
Don't Miss: For more on the contributions of the African and Caribbean diaspora in Hamilton explore the Black History Audio Tour on the rich history of Little Africa around Concession Street.
7. HMCS HAIDA
Learn More
The Tribal-class destroyer distinguished itself during a number of historic battles during World War II and beyond. It’s now a Parks Canada Historic Site docked at Hamilton’s West Harbour (Pier 9) that helps visitors discover what life was like for crew members serving on board with the Canadian Navy and develop a deeper appreciation of the role it played on the international battlefront.
Don’t Miss: Throughout the summer season, take a guided tour for a snapshot of life at sea and explore the ship's inner workings, from deck to engine room.
8. Hamilton Museum of Steam & Technology
Learn More
You’ll love getting a behind-the-scenes look at the early days of Canada’s industrial revolution with two preserved 70-ton powered water pumping engines. Museum curators take guests on a fascinating journey that created these engineering feats housed in this 150-year-old waterworks.
Don’t Miss: Popular events here include model train shows, hands-on workshops and Golden Horseshoe Live Steamer Days throughout the summer complete with miniature train rides and free guided tours.
9. Whitehern Historic House & Garden
Learn More
Experience one of Canada's most intact historic homes in this fascinating downtown museum. Costumed interpreters help unearth the lives of the three generations of the McQuesten family who lived here from 1852 to 1968. The historic house and all of its contents were given to the City of Hamilton in 1959 to be appreciated by future generations. It’s a rare glimpse into Georgian, Victorian, and Edwardian time periods.
Don't Miss: Wait for summer to experience Whitehern's stunning garden – a secret, walled oasis in the heart of downtown. Look out for special lunchtime concerts.
10. The Rock Garden at Royal Botanical Gardens
Learn More
Opened to visitors in 1932, the historic Rock Garden is considered the birthplace of Royal Botanical Gardens. Before there was the QEW and Highway 403, the Rock Garden was part of a design to help enhance the beauty of Hamilton as the main entry point into the city from Toronto. Escarpment stone from the Red Hill Valley was transported here, to this former gravel pit, to start the process. The rejuvenated garden features year-round perennial and conifer displays and a tranquil waterfall and stream.
Don't Miss: The Rock Garden's stunning Visitor Centre is a great place for special events and dining. It's also the launching pad for year-round events in the garden.
11. Architecture Tour
Learn More
Hamilton’s architecture is widely considered unique in the region for the quantity and variety of preserved historic buildings. Early standouts include Griffin House (1827), Dundurn Castle (1835), Hamilton Customs House (1860), Whitehern (1848), and St. Paul’s Presbyterian Church (1857). Later examples include LIUNA Station (1930) and the Lister Block (1923), now beautifully restored and home to the Tourism Hamilton Visitor Experience Centre.
Don’t Miss: Take this self-guided Downtown Hamilton Heritage Walking Tour to discover architectural gems spanning decades of the city’s history.
More Hamilton History:
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| 83
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https://childventures.ca/blog/9-spring-activities-for-children-in-hamilton/
|
en
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9 Spring Activities for Children in Hamilton
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2020-03-09T13:53:48+00:00
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Now that we are officially out of the dark and gloomy winter months, it’s time to focus on some Spring activities for children in Hamilton!
|
en
|
Childventures
|
https://childventures.ca/blog/9-spring-activities-for-children-in-hamilton/
|
This month, Spring will finally arrived! Now that we are coming out of the dark and gloomy winter months, it’s time to focus on some Spring activities for children! Given that we have centres in a few different communities, we will be uploading these blogs by region. This blog will highlight 10 Spring activities for children in the Hamilton region.
1. Disney on Ice Presents Worlds of Enhancements
What: Enter the dazzling world of Disney magic, live on ice! Rev up for non-stop fun with four of your favorite Disney stories at Disney On Ice presents Worlds of Enchantment. Thrill to high-speed stunts as Lightning McQueen, Mater and the crew of Disney Pixar’s Cars race across the ice! Dive into adventure with Ariel and The Little Mermaid’s undersea kingdom. The toys are back in town with heroic action when Buzz Lightyear, Woody, Jessie and the Toy Story gang escape from Sunnyside Daycare and race for home in their most daring adventure! Plus, enter the wintry world of Arendelle with sisters Anna and Elsa and pals Olaf and Kristoff from Disney’s Frozen as they learn that true love comes from within. From wheels to waves, icy wonderlands to infinity and beyond, your family’s favorite Disney moments come to life at Disney On Ice presents Worlds of Enchantment.
Where: First Ontario Centre – 101 York Blvd, Hamilton ON
When:
March 19th, 11:00am and 3:00pm
March 20th, 11:00am, 3:00pm & 7:00pm
March 21st, 11:00am, 3:00pm
March 22nd, 11:00am, 3:00pm
Who: All ages! Children 2 and over will require their own ticket.
2. March Family Fun Day at the AGH
What: Family Fun Tour: Ever wondered what your child thinks about art? In these mini-tours of Gallery Level 2 exhibitions, our expert docents will show children and parents how to look carefully and think creatively. Followed by Collaborative art making: exploring sculpture. Join the team of artist-instructors who help families create their own works of art inspired by the exhibitions on view. In March, they’ll be exploring sculpture! Inspired by the Early Snow: Michael Snow 1947-1962 exhibition, families will explore non-traditional media to create sculptural art.
Where: Art Gallery of Hamilton – 123 King St W, Hamilton ON
When: March 29th, 1:00 – 3:30pm
Who: Children of all ages!
3. Maple Syrup Festival
What: Travel back to a simpler time at Westfield Heritage Village. Discover one of Canada’s most time-honoured and tasty traditions. Explore historical and modern methods of making maple syrup from the tree to the table. Families can purchase and enjoy a delicious, reasonably-priced pancake breakfast.
Where: Westfield Heritage Village – 1049 Kirkwall Rd, Rockton ON
When: March 15th, 18th, 19th, 22nd, 29th & April 10th!
10:00am – 4:00pm
Who: Children of all ages
4. Do it Yourself Terrarium and Succulent
What: Bring spring into your home by building a miniature garden. Tools and know-how provided to help you create a self-sustaining garden to sit on your windowsill.
Where: Hamilton Public Library, Turner Branch – 352 Rymal Rd E, Hamilton ON
When: March 14th & May 30th
2:00 – 3:00pm
Who: Children 8 – 12 years old
5. Night at the Museum Family Flashlight Tour
What: Have you ever wondered what it might be like to work the evening shift at the historic Hamilton Waterworks? Come along with us for a special evening ‘flashlight’ tour of the Pumphouse and find out. Flashlights will be provided to help spotlight some of the amazing 19th century engineering found at the museum. See if you can spot some of the hidden objects on the tour.
Cost: Adults: $12, Seniors/Youth/Children: $10, Family: $30. Pre-registration is required.
Where: Hamilton Museum of Steam & Technology National Historic Site – 900 Woodward Avenue, Hamilton ON
When: April 3rd, 7:30 – 9:00pm
Who: Children 3 years old and over
6. Wednesday Wigglers Program
What: The Wednesday Wiggler program provide activities for children of preschool age an opportunity to explore the environment through a balance of adult facilitated and child directed activities. Children learn best through play, Wigglers offers a theme based drop in program with story time, songs, discovery and creation centres.
Where: Hamilton Children’s Museum – 1072 Main Street East, Hamilton ON
When: Every Wednesday in April (1st, 8th, 15th, 22nd & 29th)
10:00 – 11:30am
Who: Children 2 – 4 years old
7. Spring Bump Baby & Toddler Expo
What: An annual expo that has demos and samples from nearly 100 top brands in the world of parenting from 0 – 5 years old. You’ll have the opportunity to meet face-to-face with sleep consultants, perinatal workers, speech specialists, massage therapists, parenting specialists and more at the expert lounge. The main stage features parenting specialists, listen to your favourite Instagram mom’fluencers’, story time, cooking demos and children sensory activities. Swag bags will also be available for the first 100 families each day. Contest and giveaways will be held throughout the weekend!
Where: Ancaster Fairgrounds – 630 Trinity Rd S, Jerseyville ON
When: Saturday/Sunday May 23rd-24th
Hours 9:00am – 3:00pm
Who: Children 0 (bump) – 5 years old
8. Warplane Heritage Museum
What: The Canadian Warplane Heritage Museum is a place of learning for everyone, a special place where children are encouraged to discover the history and science of Canadian aviation through our collection of aircraft and artifacts.There is a flight simulator that is always a fan favourite with children.
Where: Canadian Warplane Heritage Museum – 9280 Airport Road, Mount Hope ON
When: Year round, 7 days per week from 9:00am – 5:00pm
2020 Closure Dates:
February 24th – March 3rd
March 30th – April 7th
Flight Simulator
Friday → Sunday from 10:00am – 4:00pm
Who: Children 10 years and older can enjoy the flight simulator and there are other computer flight simulators available for younger age groups. There is no set minimum age but on average, children above 5 are able to reach the pedals and manage the simulator with parental assistance.
9. Hamilton Children’s Museum
What: Hamilton Children’s Museum invites young visitors to stretch their imagination as they touch, build and experiment in a friendly, child-focused setting. Home to interactive, hands-on galleries, the museum encourages learning through self-directed play. At the museum learning happens through play. Play supports a child’s learning in the areas of physical, social/emotional, language and cognitive developmental. Through play children learn to cooperate, solve problems, pose and answer questions and develop their fine and gross motor skills. Play inspires imagination, and imagination helps children to understand their world. The exhibit galleries feature a ship for sailing on, a dock for fishing, a galley kitchen to feed your crew and fort building.
Where: 1072 Main Street East, Hamilton ON
When:
October 1st – March 31st
Wednesday – Saturday, 9:30 am – 3:30 pm
Sunday, 11 am – 4 pm
April 1st – September 30th
Tuesday – Saturday, 9:30 am – 3:30 pm
Who: Children of all ages!
All of these activities are child friendly and come highly recommended by various sources in the community. If you have tried any of these places before or plan to in the future, please let us know on our social media pages!
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dbpedia
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|
https://www.thenation.com/article/archive/bulls-eye/
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en
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Bull's Eye
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2003-08-28T17:43:14+00:00
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The Nation Magazine
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en
|
https://www.thenation.com/wp-content/themes/thenation-2023/images/favicon.ico?ver=3.0
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The Nation
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https://www.thenation.com/article/archive/bulls-eye/
|
This was the summer when the movies were so bad, people were reduced to complaining about a Mel Gibson film they hadn’t seen. Maybe his yet-to-be-released picture about Jesus would turn out to be awful–or maybe not–but at least it sounded as if it might be worth an opinion. How many seconds of conversation could you wring from the actually existing blockbusters? Much of what I saw in the multiplexes this summer I let pass unremarked in these pages, since (wrack my brains as I might) I could find nothing much to say about films such as The Hulk, except that it had very strangely transformed the Bad Dad into a burned-out Berkeley hippie, or Pirates of the Caribbean, except that Johnny Depp had given a very similar performance, in better company, in Fear and Loathing in Las Vegas.
Not that the summer was a complete loss for big studio movies. While Finding Nemo was busy making a bundle, it also upheld the honor of American commercial movie-making; and if you had a 4-year-old at home, it set loose many hours of talk, some of which might touch upon the movie itself. But what Finding Nemo did, it accomplished virtually single-finned. The summer’s other wounded-animal epic, Seabiscuit, achieved a smidgen of critical honor but no great success. I ran across few people who were burning to discuss it; and there were none who cared to join me in pondering the unjustly maligned Charlie’s Angels: Full Throttle. (Where, among the critics, was this film’s Jacques Rivette, ready to declare that the proof of its director’s genius lay simply and self-evidently in what you saw on the screen?)
So, with relief, I now mark the close of summer, and do so with news of two films from far outside the American commercial apparatus. They are the first features of young, talented filmmakers whose pictures are now opening in the United States after winning prizes at international festivals (where the young are marked as talented). The cheaper of the two movies (in all senses) and the better, Suddenly (Tan de Repente), comes from Argentina, where it was written and directed by Diego Lerman, based none too literally on the novel La Prueba by César Aira. The grander, more impressive-looking film, Carnage, comes officially from France but is also (by the wonders of co-production) from Spain and Belgium, where it was directed by Delphine Gleize, based on some odd ideas that were knocking around in her head.
Of course the reason people go to such pictures, or read about them, is not just to have a good time today but to guess at what moviedom might look like tomorrow. (I mean the sliver of movie territory that will be left unoccupied by either Terminator 6: Recall of the Machines or the release on DVD of installments one through five.) Looking ahead from the viewpoint of Suddenly and Carnage, I venture to predict this much: South America will remain home to at least one practitioner of an actor-centered, observational cinema, while Europe will continue to harbor at least one director of image-centered moral fables.
Carnage is in fact such a European Union of moralized images, all buzzing synchronistically among characters who often don’t know one another, that you might think Gleize was trying to stuff a whole Kieslowski trilogy into a 130-minute feature. The weightiest of her symbols, at more than 500 kilos, is a bull named Romero, who dies in a ring in the south of Spain and is cut into pieces. The horns go to a man in Belgium; the eyes, to his estranged brother; the meat (cooked in red wine) to a Spanish woman; a bone to some characters in the north of France and, through them, to a dog. Even the matador gets a piece of the bull, after having been gored. As he lies in the hospital in a coma, three of his colleagues come by with the ear he’s been awarded and tuck it unsanitarily under his mattress.
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Everyone who is touched by the bull changes in some way; but these magical results of the animal’s death and dismemberment are only the most obvious of the correspondences and coincidences that run through Carnage. The matador is gored; and a man at an ice-skating rink rams his head, bull-like, against the wall. A little girl with epilepsy is cradled by her schoolteacher; and a timid would-be actress is cradled at a psychotherapy session. The girl makes room for her parents’ enormous dog, which continually crowds her; and a pregnant woman decides to bark at her neighbors through a crack in the door. Add to this far-from-complete list the various emergency vehicles, bandages, flaked-off body parts, animal costumes, stuffed heads and arenas that figure in the film, and you’ve got a system of motifs that’s as elaborately, obsessively controlled as Gleize’s CinemaScope compositions.
Fortunately, a lot of what she does with these motifs turns out to be funny. The delicate equilibrium of Gleize’s world is always tipping, but it’s no more likely to collapse in the direction of disaster than of slapstick, which her camera placements keep cool and droll. Objects and people have a way of going bump when they come to the edge of her frame, as if the visual limits she’d set were real. When that happens, at least some of her characters react with slow burns or deadpan astonishment. Chiara Mastroianni, who has the looks and bloodline of a duchess, plays charmingly against type as the awkward, inhibited actress, who is cast only in sales promotions at supermarkets. Long-faced, shambling Jacques Gamblin brings a well-frayed patience to the role of the eye researcher with the pregnant, barking wife; and Clovis Cornillac, whose shaved skull resembles a lightbulb that somebody ought to turn on, wanders through the proceedings as a philosopher who has given up thinking. Most notable among the characters who aren’t funny is the great Angela Molina–still beautiful, still the magnet who turns all other actors into rings of iron filings–in the role of a woman who is losing her ability to pretend.
But pretend about what? Why is she starting to crack, apart from Gleize’s notion that she ought to? How does a dinner of bull stew push her to desperate action? For that matter, what is Gamblin supposed to be doing with those bull’s eyes, other than “working” with them? How come his brother, the taxidermist, is such a repressed, mother-dominated loner? (I know, that’s the description of all movie taxidermists.) And what makes the little girl, Winnie, so all-knowing? In the image-centered tradition that Gleize is practicing, the pattern is supposed to provide the master answer, eliminating the need for such literal-minded questions. So it does–in some movies. In Carnage, though, the sense of authorial fiat is so overpowering, and the spines of the characters so flimsy, that you, too, may begin to feel pushed around, so that you ask “how?” and “why?” just as a way of shoving back.
Yes, Gleize is an extraordinarily promising filmmaker. (The proof, as Rivette would have said, is self-evident on the screen.) At 30, she already has a daunting set of skills–and if, for the moment, she has more of a will to make films than a need to say anything in them, she’s merely exercising her privilege as a young artist. I admired Carnage, as she’d intended me to; I also enjoyed much of it. But I can’t ignore the fact that the story is bull.
Suddenly starts out as if it, too, might be bull–grainy, black-and-white bull at that. Two young women in Buenos Aires, apparently bored with theft and pinball, accost a passing shopgirl and demand at knifepoint that she join them for sex. The shopgirl, who is obese and moonfaced, is named Marcia. She had tried knotting a scarf around her neck that morning, to give herself a little dash, but had put away the fancy sunglasses she’d recently bought, having understood they were a mistake. The abductors, who are thin and sharp-featured, call themselves Mao and Lenin. One has a leather jacket and the other a sweatshirt, but both wear the same style of knee-length skirt, white socks and heavy boots, which must have been stolen in pairs.
South American lesbian outlaws! What could be cooler? At this early point in the movie, you might reasonably suspect Diego Lerman of playing to the lower instincts of the arthouse and festival crowd; and you would not be wrong. But as he twists and turns his story–first making it a road movie, then changing it into a picture of provincial life and makeshift family–you discover something about Lerman that makes him remarkable. He knows better than to believe what these people believe about themselves. He sees through their acts–even Marcia’s–because he actually cares about them.
The sign of his care is the close-up. Lerman uses a lot of this shot, in part to keep down the budget (I’ll get to that in a moment) but mostly because he trusts his actors and wants to find his way into the movie through them. So he studies the glumness and self-pity of Marcia (Tatiana Saphir), looking for the moment when she’ll break away from routine on the pretense that she can’t help what she’s doing. He watches the straight-faced insolence of Mao (Carla Crespo), knowing she’ll eventually want someone to tell her no, and mean it; he keeps a close eye on the angry indifference of Lenin (Veronica Hassan), because that clenched face has to loosen sometime, and revert to something like the features of a hopeful 10-year-old. Lerman also pores over, and loves, a fourth face: that of Lenin’s aged aunt, Blanca (Beatriz Thibaudin), who outrageously demands rent from the girls when they come to stay in her tumbledown little house in Rosario, but then repays them with smiles, songs and just the right sort of knowing misbehavior.
Toward the end of Suddenly there’s a brief shot of Blanca sitting upright in bed at midnight, looking beatific in a halo of moonlight, that doesn’t really need to be in the movie and yet sums up all its heart. That’s why I trust in Lerman’s promise a little more than in Gleize’s. He still believes he can discover life through his camera; he’s willing to let the world, and the movie, surprise him.
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https://www.collection.nfsa.gov.au/search/credits.id%3D6910901%26credits.role%3DDistributor%2520(Film)
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Search the Collection
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https://www.collection.nfsa.gov.au/favicon.ico
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https://www.collection.nfsa.gov.au/favicon.ico
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https://equusmagazine.com/horse-world/press_060903
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Seabiscuit
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2003-06-09T09:55:00+00:00
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Promising to be the blockbuster of the summer, Seabiscuit opens in Theaters July 25. Universal Pictures, DreamWorks Pictures and Spyglass Entertainment have come together to bring the incredibly compelling story of Laura Hillenbrand's best-selling book, Seabiscuit: An American Legend to the big screen.
|
en
|
Equus Magazine
|
https://equusmagazine.com/horse-world/press_060903
|
Universal Pictures, DreamWorks Pictures and Spyglass Entertainment have come together to bring the incredibly compelling story of Laura Hillenbrand’s best-selling book, Seabiscuit: An American Legend to the big screen. Tobey Maguire (Spider-Man) is the star and executive producer while Jeff Bridges (The Contender) and Chris Cooper (American Beauty,) co-star.
Written and directed by Gary Ross (Dave), produced by partners Frank Marshall (Signs) and Kathleen Kennedy (The Sixth Sense,), along with Ross and Jane Sindell, and executive produced by Spyglass Entertainment’s Gary Barber and Roger Birnbaum, and Robin Bissell and Allison Thomas, Seabiscuit tells the story of three men — a jockey, a trainer and a businessman — and the undersized racehorse with an uneven gait who took them and the entire nation on the ride of a lifetime during the dark days of the 1930’s.
Tobey Maguire stars as legendary half-blind jockey Red Pollard. Four-time Academy Award nominee Jeff Bridges portrays Seabiscuit’s owner, the self-made auto tycoon Charles Howard, while Chris Cooper has been cast as trainer Tom Smith, the down-on-his-luck cowboy who got on with horses better than people. Elizabeth Banks (Spider-Man) portrays Howard’s wife Marcella, and William H. Macy (Jurassic Park III) plays racing journalist Tick Tock McGlaughlin. Real-life Hall of Fame rider Gary Stevens makes his feature film debut as charismatic jockey George Woolf.
Hall of Fame jockey Chris McCarron, who retired from the sport earlier this year after a 28-year career that included wins in six Triple Crown races and nine Breeders’ Cups, is the film’s racing consultant, along with Judy McCarron. Chris McCarron will also appear onscreen in Seabiscuit, as jockey Charley Kurtsinger, who rode War Admiral in a legendary match race against Seabiscuit.
The film’s racing sequences were shot at some of the top tracks across the country, including Magna Entertainment Corporation’s Santa Anita Park, Seabiscuit’s home track in Los Angeles. The Keeneland track in Lexington, Kentucky’s famed Blue Grass region, doubles for the Pimlico track in Maryland, site of the spellbinding showdown between Seabiscuit and War Admiral. Major scenes were also filmed at the Saratoga Race Course in upstate New York and the Fairplex at the Pomona County Fairgrounds in the Los Angeles area.
A two-time Oscar nominee for his original screenplays for Dave and Big (which he co-wrote with Anne Spielberg), Ross made his feature film directorial debut with Pleasantville in 1998, which also starred Tobey Maguire. He was joined by a talented production team behind the scenes, several of whom he has collaborated with in the past, such as production designer Jeannine Oppewall (L.A. Confidential), editor Billy Goldenberg (Au), Oscar-winning composer Randy Newman (Meet the Parents) and costume designer Judianna Makovsky (Harry Potter and the Sorcerer’s Stone), who was Oscar-nominated for her work on Pleasantville. John Schwartzman (Pearl Harbor, Armageddon) served as director of photography.
Seabiscuit: An American Legend is one of the most popular and widely read non-fiction books of recent years and remains at the top of The New York Times paperback best-seller list. Much like the horse himself, who ultimately became one of the most electrifying and popular sports attractions in history and the single biggest newsmaker in the world in 1938, the book has become a national phenomenon.
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https://en.wikipedia.org/wiki/Secretariat_(film)
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Secretariat (film)
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en
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https://en.wikipedia.org/wiki/Secretariat_(film)
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2010 sports drama film produced by Walt Disney Pictures
SecretariatDirected byRandall WallaceWritten byMike Rich
Sheldon TurnerProduced byMark Ciardi
Gordon GrayStarringCinematographyDean SemlerEdited byJohn WrightMusic byNick Glennie-Smith
Production
companies
Distributed byWalt Disney Studios
Motion Pictures[1]
Release dates
Running time
123 minutesCountryUnited StatesLanguageEnglishBudget$35 million[3][4]Box office$60.3 million[4]
Secretariat is a 2010 American biographical sports drama film produced and released by Walt Disney Pictures, written by Mike Rich and Sheldon Turner based largely on William Nack's 1975 book Secretariat: The Making of a Champion, with music by Nick Glennie-Smith and directed by Randall Wallace. The film chronicles the life of Thoroughbred race horse Secretariat, winner of the Triple Crown in 1973. Diane Lane plays Secretariat's owner, Penny Chenery, who takes over the Doswell, Virginia, stables of her ailing father Christopher Chenery despite her lack of horse-racing knowledge. With the help of veteran trainer Lucien Laurin (played by John Malkovich), she navigates the male-dominated business, ultimately fostering the first Triple Crown winner in 25 years and widely considered the greatest racehorse of all time.
Filming took place on location in Louisville and Lexington, Kentucky, and around Lafayette and Carencro, Louisiana. The film premiered in Hollywood on September 30, 2010, and was released in the United States on October 8, 2010, by Walt Disney Studios Motion Pictures.[5] It received generally favorable reviews from critics and earned $60 million on a $35 million budget.
Plot
[edit]
In 1969, Denver housewife and mother Penny Chenery learns of her mother's death and returns to her childhood home. She reunites with Mrs. Ham, her father's secretary, and comforts her confused and elderly father. At her mother's funeral, Penny meets Arthur "Bull" Hancock and his son, Seth Hancock, of Claiborne Farm in Kentucky. The Hancocks offer any help she may need during her efforts to bring Meadow Stables back to profitability. Penny's brother Hollis informs her of a dishonest sale that was about to be made by the trainer until their mother stopped him. Penny fires the trainer and asks Bull Hancock to help her find a new trainer. He recommends Lucien Laurin, an aging French Canadian, who initially turns down Penny's offer.
Penny's father had made a deal with leading owner Ogden Phipps that if Phipps bred his best stallion (Bold Ruler) to Chenery's two best mares (Somethingroyal and Hasty Matelda), the two owners would each receive one foal, flipping a coin to decide who would choose. Bold Ruler, the stallion, was fast but couldn't last over distances. Hasty Matelda is the obvious choice for her young age, but Somethingroyal's bloodline is made up of many horses with good stamina. Penny hopes to choose Somethingroyal's foal for the interesting mix of speed and stamina. Phipps wins the toss and chooses Hasty Matelda's foal, leaving Penny with Somethingroyal's foal, Secretariat.
When Secretariat enters his first race at Aqueduct race track in Queens, New York City, everyone has high expectations. The jockey, Paul Feliciano, is very young with little experience, which worries Penny, but Lucien reassures her. During the race, Secretariat is repeatedly hit by other horses and comes in fourth. Penny and Lucien fight, and Lucien blames Paul for the loss. Penny realizes the only way Secretariat will ever win is if he has an experienced jockey. Penny's flight back home is canceled on the day of the race, and she misses her daughter Kate's solo in a play. Her son holds up the pay phone so Penny can hear Kate sing.
Penny gets experienced Canadian jockey Ron Turcotte to ride Secretariat to many victories. Secretariat is named horse of the year after a successful two-year-old season. Penny's father suffers a stroke and dies, leaving Penny and her brother Hollis to inherit the estate. Although she needs six million dollars to pay estate taxes, Penny refuses to sell Secretariat.
Instead she syndicates the horse, selling 32 shares worth more than six million dollars, as long as he can win a three-year-old distance race. She tries to sell a share to Ogden Phipps, who instead offers to buy the horse for seven million dollars. Penny refuses to sell him. When Phipps demands to know why, she tells him Secretariat's value will triple when he wins the Triple Crown – a feat no horse has accomplished in twenty-five years. During this time, Frank "Pancho" Martin, trainer of rival horse Sham, tries to provoke a match race with Secretariat.
Secretariat is taken to the Wood Memorial three weeks before the first of the Triple Crown races to take on Sham and attempt to earn Penny her syndication money. Turcotte notices that the horse's breathing is heavy, he refuses to eat, and he is reluctant to allow the bit into his mouth. After Secretariat loses the race, an abscess in his mouth is discovered that may have caused the poor performance.
Secretariat recovers and wins both the Kentucky Derby and the Preakness in record time. Sham comes in second place in both races and Pancho Martin tells Sham's jockey, Laffit Pincay, to stay with Secretariat through the Belmont in an attempt to tire him early and win. However, Secretariat runs an unbelievable race, finishing 31 lengths (over 82 yards (75 m)) ahead of the next horse to secure the Triple Crown. An exhausted Sham ends up in last place, having failed to keep up with Secretariat's record-breaking pace. Penny and her family receive the Triple Crown trophy at the end of the race.
Cast
[edit]
Diane Lane as Penny Chenery
John Malkovich as Lucien Laurin
Dylan Walsh as John "Jack" Tweedy
James Cromwell as Ogden Phipps
Kevin Connolly as Bill Nack
Nelsan Ellis as Eddie Sweat
Dylan Baker as Hollis B. Chenery
Margo Martindale as Elizabeth Ham
Scott Glenn as Christopher Chenery
Amanda Michalka as Kate Tweedy
Drew Roy as Seth Hancock
Graham McTavish as Earl Jansen
Fred Dalton Thompson as Bull Hancock
Eric Lange as Andy Beyer
Nestor Serrano as Pancho Martin
Otto Thorwarth as Ron Turcotte
Carissa Capobianco as Sarah Tweedy
Stephen Stanton as Chic Anderson (Triple Crown race announcer)
Penny Chenery made a cameo appearance during the final race
Longshot Max as Secretariat
Production
[edit]
William Nack, who wrote the film's source book Secretariat: The Making of a Champion (1975), was also a consultant for the film and made a cameo appearance.[6] Part of the film was shot on location in both Louisville and Lexington, Kentucky for three weeks then moved to Louisiana to reproduce the Triple Crown infields at Evangeline Downs, located in Opelousas, Louisiana.[7] Several horses were used to depict Secretariat in the film, chief among them Trolley Boy, whose great-great-grandsire was the real-life Secretariat, and Longshot Max, whose bloodline includes Secretariat's sire, Bold Ruler, as well as his grandsire, Princequillo.[8]
Reception
[edit]
Critical response
[edit]
As of June 2020 , the film holds a 63% approval rating on review aggregation website Rotten Tomatoes, based on 154 reviews with an average rating of 6.11/10. The website's critical consensus reads: "Rousing, heartwarming, and squarely traditional, Secretariat offers exactly what you'd expect from an inspirational Disney drama – no more, no less."[9] On Metacritic, it has a weighted average score of 61 out of 100, based on 36 critics, indicating "generally favorable reviews".[10] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[11]
Chicago Sun-Times film critic Roger Ebert gave the film four out of four stars saying that "...this whole movie feels authentic".[12] Hannah Goodwyn of Christian Broadcasting Network gave Secretariat a "Jumbo Popcorn" rating, saying: "Though many may consider Seabiscuit as the preeminent horse-racing film, Secretariat beats it by lengths."[13]
Controversy
[edit]
Film critic Andrew O'Hehir of Salon.com created some controversy with his review of the film, writing that, although he "enjoyed the film immensely," that didn't "stop [him] from believing that in its totality Secretariat is a work of creepy, half-hilarious master-race propaganda almost worthy of Leni Riefenstahl, and all the more effective because it presents as a family-friendly yarn about a nice lady and her horse." He cited what he felt was the possible xenophobic undercurrent to the film, as well as its 'unpleasant' and 'stereotypical' presentation of non-white characters as justification for his theory.[14] In response, fellow critic Roger Ebert posted that O'Hehir's review of Secretariat was "so bizarre I cannot allow it to pass unnoticed. I don't find anywhere in Secretariat the ideology he discovers there."[15] Bill Nack, the author of the book the film is based on, pointed out that Pancho Martin's verbal attack on Laurin before the Kentucky Derby was not intended to create an image of Martin as 'evil' or 'vaguely terrorist-flavored,' as O'Hehir claimed in his review.[14] The film lifted Martin's diatribes against Laurin from Nack's book, which were a transcription of Martin's actual words as recorded by Nack. Nack wondered who O'Hehir could claim as a source to say that Martin wasn't boastful.[15] Ron Turcotte, who rode Secretariat to victory, said about Martin's portrayal in the film: "It wasn't that way."[16] Conservative media personality Rush Limbaugh also took issue with O'Hehir's review.[17] In response to Ebert, O'Hehir wrote that he was being hyperbolic: "My hyperbole in the Secretariat review was supposed to be funny, and also to provoke a response."[15]
Historical inaccuracies
[edit]
Bill Christine, a former long-time racing writer for the Los Angeles Times, pointed out that the film made some significant departures from Secretariat's actual history. These include:
The film makes no mention of Riva Ridge, a Chenery-owned horse that had won the 1972 Kentucky Derby and Belmont, and helped keep Meadow Stable afloat. According to Christine, but for Riva Ridge's career, Chenery might not have even owned Secretariat by the time he turned three.
Christine called the portrayal of several people, including Pancho Martin and Ogden Phipps, "cartoonish".
The film leads viewers to believe that Sham won the Wood Memorial, a major prep race then held two weeks before the Derby. In reality, that race was won by Angle Light. Chenery's most significant conflict in the run-up to the Derby was not with Phipps, but instead with Edwin Whittaker, the owner of Angle Light (a horse also trained by Laurin).[18]
Steve Haskin, a sportswriter for The Blood-Horse, had some of the same issues, particularly the omission of Riva Ridge and the staging of the Wood Memorial. He also added: "Although the horses who played Secretariat did not capture the majesty and physical presence of Big Red, the equine stars did well enough, considering there isn't a horse alive who could have done justice to him."[19]
Box office
[edit]
The film opened in third place at the box office in its opening weekend, grossing $4 million on opening day and $12,694,770 over the three-day weekend, just falling behind The Social Network and Life as We Know It. The film had an average of $4,132 from 3,072 locations. In its second weekend, the film held extremely well with only a 27% slide to $9.3 million and finishing fourth for a $3,032 average from 3,072 theaters. It then held up even better in its third weekend, slipping only 25% to just over $7 million and finishing sixth for a $2,254 average from 3,108 theaters. The film was a relative box office success, grossing $60 million by the end of its run.[4] In the United Kingdom, the film was released on December 4, 2010, with no promotion and was withdrawn from most UK cinemas after just one week.[citation needed]
Home media
[edit]
Secretariat was released by Walt Disney Studios Home Entertainment on DVD, as well as a 2-disc Blu-ray & DVD combo pack on January 30, 2011.[20] Bonus features on the DVD will include: Deleted scenes and a director introduction. The Blu-ray bonuses include a look at how the racing scenes were filmed, an interview with Penny Chenery, and a profile of Secretariat's 1973 Belmont race.[20]
Accolades
[edit]
Award Category Nominee Result Christopher Award Feature Film Randall Wallace, Mark Ciardi, Gordon Gray, Bill Johnson, Mike Rich Won ESPY Award Best Sports Movie Nominated MovieGuide Awards Best Film for Mature Audiences Mark Ciardi (Producer), Gordon Gray (Producer), Randall Wallace (Director), Bill Johnson (Executive Producer) Won Phoenix Film Critics Society Awards Best Live Action Family Film Nominated Satellite Award Best Youth DVD Nominated Best Cinematography and Best Sound (Mixing & Editing) Kami Asgar, Sean McCormack, David O. Daniel, Kevin O'Connell, Beau Borders and Dean Semler Nominated Women's Image Network Awards Actress Feature Film Diane Lane Nominated
Soundtrack
[edit]
"Silent Night" – Performed by AJ Michalka
"I'll Take You There" – Performed by The Staple Singers
"Oh Happy Day" – Performed by The Edwin Hawkins Singers
"The Longest Goodbye" – Written and performed by Scott Nickoley and Jamie Dunlap
"I Am Free" – Produced and performed by Nick Glennie-Smith
"My Old Kentucky Home" – Written by Stephen Foster, performed by The University of Kentucky Wildcat Marching Band
"It's Not How Fast, It's Not How Far" – Performed by Andrew Wallace
"It's Who You Are" – Written and performed by Randall Wallace and AJ Michalka
"My Old Kentucky Home" – Performed by Tricia Aguirre
See also
[edit]
List of films about horse racing
Secretariat (horse)
Triple Crown
References
[edit]
Further reading
[edit]
Christine, Bill (October 3, 2010). "'Secretariat's' Loss: rival Angle Light". Los Angeles Times. p. 24
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THE STORY OF SEABISCUIT
|
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Seabiscuit Heritage Foundation
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Willits, California boasts an illustrious and star-studded history, with many of Hollywood’s biggest names, including Clark Gable, Bing Crosby, and Carole Lombard, frequent guests of Charles S. Howard at Ridgewood Ranch. Perhaps the biggest star of all to grace the grounds was the legendary racehorse, Seabiscuit.
This once broken down little horse, along with his owner, Charles Howard, a self made San Francisco businessman, Johnny “Red” Pollard, a down on his luck prize fighter turned jockey and a little known trainer named Tom Smith embodied the American spirit and gave hope to millions of Americans during the darkest economic era our nation has ever faced. With the help of these three men and one victory after another, Seabiscuit lifted the citizens of our country out of the despair of the Great Depression. In 1938, he became the greatest icon of his time garnering more press than President Franklin D. Roosevelt.
“His determination and resiliency in facing numerous challenges and setbacks is a lesson for us all,” said Gary Stevens, Hall of Fame racing jockey and actor – What a legacy to preserve and protect.
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https://www.fandango.com/seabiscuit-60335/movie-overview
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A Message To Our Fans
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A Message To Our Fans
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Sorry, Fandango is not available outside the United States.
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https://en.wikipedia.org/wiki/Seabiscuit_(film)
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en
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Seabiscuit (film)
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2004-01-27T20:32:09+00:00
|
en
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/static/apple-touch/wikipedia.png
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https://en.wikipedia.org/wiki/Seabiscuit_(film)
|
2003 American film
SeabiscuitDirected byGary RossScreenplay byGary RossBased onSeabiscuit: An American Legend
by Laura HillenbrandProduced by
Kathleen Kennedy
Frank Marshall
Gary Ross
Jane Sindell
StarringCinematographyJohn SchwartzmanEdited byWilliam GoldenbergMusic byRandy Newman
Production
companies
Distributed byUniversal Pictures
Release date
Running time
141 minutesCountryUnited StatesLanguageEnglishBudget$87 million[1]Box office$148.3 million[1]
Seabiscuit is a 2003 American sports film co-produced, written and directed by Gary Ross and based on the best-selling 1999 non-fiction book Seabiscuit: An American Legend by Laura Hillenbrand. The film is loosely based on the life and racing career of Seabiscuit, an undersized and overlooked Thoroughbred race horse, whose unexpected successes made him a hugely popular media sensation in the United States during the Great Depression. At the 76th Academy Awards, Seabiscuit received seven nominations, including Best Picture, but ultimately lost all seven, including six to The Lord of the Rings: The Return of the King.
Plot
[edit]
In the early 20th century, as America enters the automobile age, Charles S. Howard opens a bicycle shop in San Francisco. He is soon selling automobiles, becoming the largest car dealer in California and one of the Bay Area's richest men. In the wake of the Great Depression, Canadian John "Red" Pollard's family is financially ruined, and he is sent to live with a horse trainer. Years pass and Pollard becomes a jockey, but amateur boxing leaves him blind in one eye.
After their young son is killed in an automobile accident, Howard's wife leaves him. He obtains a divorce in Mexico, where Pollard is struggling to make his mark as a jockey. Howard meets and marries Marcela Zabala. When he acquires a stable of racehorses, he hires itinerant horseman Tom Smith as his trainer. Smith convinces him to buy a colt called Seabiscuit. Though a grandson of the great Man o' War and trained by the renowned James E. Fitzsimmons, Seabiscuit is viewed as small, lazy, and unmanageable. Smith witnesses Pollard's similarly temperamental spirit, and hires him as Seabiscuit's jockey.
Under Smith's innovative training, Seabiscuit becomes the most successful racehorse on the West Coast and an underdog hero to the public. Howard issues a challenge to Samuel D. Riddle, owner of the East Coast champion and Triple Crown-winning racehorse War Admiral, but Riddle dismisses California racing as inferior. In the prestigious Santa Anita Handicap, Seabiscuit takes the lead, but Pollard's impaired vision prevents him from noticing another horse surging up on the outside. Losing by a nose, Pollard admits his partial blindness to Smith.
Howard declares that Pollard will remain Seabiscuit's jockey, and rallies public support for a match race with War Admiral. Riddle agrees, on the condition that they race with a rope and bell instead of a starting gate. With Seabiscuit at a disadvantage, Smith trains the horse to break fast at the sound of the bell. As the race approaches, Pollard severely fractures his leg in a riding accident. Informed he may never walk again, let alone ride, he recommends that his friend and skilled jockey George Woolf ride Seabiscuit, advising him on the horse's handling and behavior from his hospital bed.
The highly anticipated "race of the century" draws a sellout crowd, with 40 million more people listening on the radio. Seabiscuit takes an early lead until the far turn; following Pollard's advice, Woolf lets Seabiscuit look War Admiral in the eye before surging ahead, and Seabiscuit wins by four lengths, delighting the nation. A few months later, Seabiscuit injures his leg. Pollard, still recovering from his own injured leg, tends to the horse as they both heal. When Seabiscuit is fit enough to race again, Howard brings him back to the Santa Anita Handicap, but is reluctant to allow Pollard to ride and risk crippling himself for life. At the urging of Woolf and Marcela, Howard relents.
Pollard, using a self-made leg brace, finds himself and Seabiscuit facing Woolf in the race. Seabiscuit drops far behind the field until Woolf pulls his horse alongside Pollard, allowing Seabiscuit a good look at his mount. With Woolf's encouragement, Seabiscuit surges ahead and passes the others. Heading for the finish line several lengths ahead, Pollard explains that the story of Seabiscuit is not merely of three men who fixed a broken-down horse, but that Seabiscuit fixed them and, in a way, they fixed one another.
Cast
[edit]
Release
[edit]
The film was released on July 25, 2003, by Universal Pictures. Universal distributed the film in the United States and Canada, DreamWorks Pictures through United International Pictures handled distribution in Germany, Scandinavia, and Spain, while Spyglass Entertainment acted as pre-sales agent in all other territories. Japanese theatrical distribution was handled by UIP separately from the DreamWorks deal, while Pony Canyon handled home video rights,[3] with Buena Vista International purchasing distribution rights in all other territories.[4]
Reception
[edit]
Critical response
[edit]
On Rotten Tomatoes, the film has an approval rating of 78% based on 208 reviews, with an average rating of 7.1/10. The website's critical consensus reads, "A life-affirming, if saccharine, epic treatment of a spirit-lifting figure in sports history".[5] On Metacritic, the film has a weighted average score of 72 out of 100, based on 43 critics, indicating "generally favorable reviews".[6] Audiences surveyed by CinemaScore gave the film an average grade of "A" on a scale of A to F.[7]
Roger Ebert of the Chicago Sun-Times gave the film 3.5 stars out of 4, and wrote: "The movie's races are thrilling because they must be thrilling; there's no way for the movie to miss on those, but writer-director Gary Ross and his cinematographer, John Schwartzman, get amazingly close to the action."[8]
Accolades
[edit]
Group Category Recipient Result ASCAP Film and Television Music Awards Top Box Office Films Randy Newman Won 76th Academy Awards[9] Best Picture Kathleen Kennedy, Frank Marshall and Gary Ross Nominated Best Writing (Adapted Screenplay) Gary Ross Nominated Best Art Direction Art Direction: Jeannine Oppewall; Set Decoration: Leslie Pope Nominated Best Cinematography John Schwartzman Nominated Best Costume Design Judianna Makovsky Nominated Best Film Editing William Goldenberg Nominated Best Sound Mixing Andy Nelson,
Anna Behlmer and
Tod A. Maitland Nominated 54th ACE Eddie Awards Best Edited Feature Film – Dramatic William Goldenberg Nominated 2003 American Society of Cinematographers Awards Outstanding Achievement in Cinematography in Theatrical Releases John Schwartzman Won Broadcast Film Critics Association Awards 2003 Best Film Nominated Best Screenplay Gary Ross Nominated Directors Guild of America Awards 2003 Outstanding Directing – Feature Film Gary Ross Nominated 61st Golden Globe Awards Golden Globe Award for Best Motion Picture – Drama Nominated Golden Globe Award for Best Supporting Actor – Motion Picture William H. Macy Nominated Satellite Awards 2003 Best Supporting Actor – Motion Picture Jeff Bridges Nominated Best Art Direction and Production Design Nominated Best Cinematography John Schwartzman Nominated Best Costume Design Judianna Makovsky Nominated Best Editing William Goldenberg Nominated Best Original Score Randy Newman Nominated Best Adapted Screenplay Gary Ross Nominated Best Sound Nominated 10th Screen Actors Guild Awards Outstanding Performance by a Male Actor in a Supporting Role Chris Cooper Nominated Outstanding Performance by a Cast in a Motion Picture Elizabeth Banks, Jeff Bridges, Chris Cooper, William H. Macy, Tobey Maguire, and Gary Stevens Nominated Writers Guild of America Awards 2003 Best Adapted Screenplay Gary Ross Nominated
The film is recognized by American Film Institute in these lists:
2006: AFI's 100 Years...100 Cheers – #50[10]
See also
[edit]
List of films about horse racing
Film portal
United States portal
References
[edit]
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Rotten Tomatoes, home of the Tomatometer, is the most trusted measurement of quality for Movies & TV. The definitive site for Reviews, Trailers, Showtimes, and Tickets
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https://www.rottentomatoes.com/m/seabiscuit/reviews
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Twenty years after its theatrical release, Seabiscuit remains one of the best sports dramas to grace the screen.
Full Review | Original Score: 5/5 | Jul 25, 2023
Director Ross, his team of technicians, and performers (including 10 portraying the title character) made one of the greatest sports (and family friendly) films of all-time which will quite easily double for some as the light at the end of many tunnels.
Full Review | Original Score: 4/5 | Jan 13, 2022
While not as epic as one might think given the studio build-up, Seabiscuit is nevertheless destined to become a classic.
Full Review | Nov 15, 2019
A high-quality telling of the inspirational true story behind America's own Phar Lap, an equine powerhouse that became a hero of the Depression era.
Full Review | Original Score: 3.5/5 | Oct 14, 2019
Seabiscuit starts slow, finishes fast, not an eye without a tear, not a throat without a lump. It jumps out of the gate as a front-runner in the race for Hollywood's Triple Crown: best actor, best direction and best picture.
Full Review | Original Score: A- | Jan 5, 2018
It's inspiring despite a sobering thesis: The future is intoxicating, but progress is a kind way of rendering someone's livelihood obsolete. Gary Ross probed the underdog principle's heart: Success outside the comfort zone is the sweetest of all.
Full Review | Original Score: 3.5/4 | Sep 23, 2010
Writer-director Ross's true-believer American salesmanship%u2014inspired by Frank Capra and honed in Dave and Pleasantville--suits this story of American entrepreneurship, optimism, and resilience. [Blu-ray]
Full Review | Original Score: 3.5/4 | Jun 19, 2009
Becomes a tale about beating the odds, the triumph of competition, and how one small animal can bring a nation together to forget its miseries.
Full Review | Apr 29, 2009
[It] may be too airbrushed for its own good, but in the end nothing can stop this story from putting a lump in your throat.
Full Review | Nov 1, 2007
We root for Seabiscuit, of course, but more out of obligation than devotion -- after all, we paid to see him.
Full Review | Original Score: 3/4 | Jul 14, 2007
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https://www.pristineauction.com/a209819-Seabiscuit-27-x-40-Movie-Poster-Signed-by-6-with-Jeff-Bridges-Chris-Cooper-William-H-Macy-Gary-Stevens-Gary-Ross-Chris-McCarron-JSA-ALOA
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"Seabiscuit" 27" x 40" Movie Poster Signed by (6) with Jeff Bridges, Chris Cooper, William H. Macy, Gary Stevens, Gary Ross & Chris McCarron (JSA ALOA)
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Movie poster measures 27" x 40" and is hand-signed by (6) including Jeff Bridges, Chris Cooper, William H. Macy, Gary Stevens, Gary Ross and Chris McCarron. Please note, the poster has some handling wear. The piece includes a James Spence Authentication (JSA) Auction House LOA for authenticity purposes.
Authentication: JSA
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A % buyer's premium will be added to the total at the checkout process.
By placing a bid, you agree to abide by all Pristine Auction policies.
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https://moviemem.com/products/lobby-cards/seabiscuit-original-lobby-card-9-tobey-maguire-jeff-bridges/
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SEABISCUIT Original Lobby Card 9 Tobey Maguire Jeff Bridges
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2023-12-14T05:15:26+00:00
|
Seabiscuit, Gary Ross, Tobey Maguire, Jeff Bridges, Chris Cooper, Elizabeth Banks, Gary Stevens, William H. Macy, Original Movie poster
|
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Moviemem Original Movie Posters
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https://moviemem.com/products/lobby-cards/seabiscuit-original-lobby-card-9-tobey-maguire-jeff-bridges/
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Seabiscuit DVD Release Date May 23, 2006
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Get Seabiscuit DVD and Blu-ray release date, trailer, movie poster and movie stats. Set in the era of the Depression, this true sports drama centers around three men and the horse Seabiscuit, who through his legendary racing, helped create victories that were...
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en
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DVDs Release Dates
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https://www.dvdsreleasedates.com/movies/1999/Seabiscuit-(2003).html
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Rating: PG-13
imdb: 7.4
Runtime: 141
Theater date
July 25, 2003
Theater gross
$120.3 mil
Genre(s): Drama, History
Movie Homepage
Trailer
Actor(s)
Tobey Maguire
David McCullough
Jeff Bridges
Chris Cooper
Elizabeth Banks
Gary L. Stevens
Eddie Jones
William H. Macy
Royce D. Applegate
Chris McCarron
Director(s)
Gary Ross
Producer(s)
Gary Ross
Jane Sindell
Frank Marshall
Overview
Set in the era of the Depression, this true sports drama centers around three men and the horse Seabiscuit, who through his legendary racing, helped create victories that were instrumental in igniting the spirit of the poor and jobless Americans of the 1930s. The owner of the horse is Charles Howard, and he hires a former partially-blind boxer with riding skills, Red Pollard, to work as his jockey. With the help of horse trainer Tom Smith, the three men train and promote Seabiscuit into becoming a house-hold name in America through the horse's racing victories. Along the way, accidents happen, but Seabiscuit and jockey prevail to instill inspiration.
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Seabiscuit
|
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2003-06-09T09:55:00+00:00
|
Promising to be the blockbuster of the summer, Seabiscuit opens in Theaters July 25. Universal Pictures, DreamWorks Pictures and Spyglass Entertainment have come together to bring the incredibly compelling story of Laura Hillenbrand's best-selling book, Seabiscuit: An American Legend to the big screen.
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en
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Equus Magazine
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https://equusmagazine.com/horse-world/press_060903
|
Universal Pictures, DreamWorks Pictures and Spyglass Entertainment have come together to bring the incredibly compelling story of Laura Hillenbrand’s best-selling book, Seabiscuit: An American Legend to the big screen. Tobey Maguire (Spider-Man) is the star and executive producer while Jeff Bridges (The Contender) and Chris Cooper (American Beauty,) co-star.
Written and directed by Gary Ross (Dave), produced by partners Frank Marshall (Signs) and Kathleen Kennedy (The Sixth Sense,), along with Ross and Jane Sindell, and executive produced by Spyglass Entertainment’s Gary Barber and Roger Birnbaum, and Robin Bissell and Allison Thomas, Seabiscuit tells the story of three men — a jockey, a trainer and a businessman — and the undersized racehorse with an uneven gait who took them and the entire nation on the ride of a lifetime during the dark days of the 1930’s.
Tobey Maguire stars as legendary half-blind jockey Red Pollard. Four-time Academy Award nominee Jeff Bridges portrays Seabiscuit’s owner, the self-made auto tycoon Charles Howard, while Chris Cooper has been cast as trainer Tom Smith, the down-on-his-luck cowboy who got on with horses better than people. Elizabeth Banks (Spider-Man) portrays Howard’s wife Marcella, and William H. Macy (Jurassic Park III) plays racing journalist Tick Tock McGlaughlin. Real-life Hall of Fame rider Gary Stevens makes his feature film debut as charismatic jockey George Woolf.
Hall of Fame jockey Chris McCarron, who retired from the sport earlier this year after a 28-year career that included wins in six Triple Crown races and nine Breeders’ Cups, is the film’s racing consultant, along with Judy McCarron. Chris McCarron will also appear onscreen in Seabiscuit, as jockey Charley Kurtsinger, who rode War Admiral in a legendary match race against Seabiscuit.
The film’s racing sequences were shot at some of the top tracks across the country, including Magna Entertainment Corporation’s Santa Anita Park, Seabiscuit’s home track in Los Angeles. The Keeneland track in Lexington, Kentucky’s famed Blue Grass region, doubles for the Pimlico track in Maryland, site of the spellbinding showdown between Seabiscuit and War Admiral. Major scenes were also filmed at the Saratoga Race Course in upstate New York and the Fairplex at the Pomona County Fairgrounds in the Los Angeles area.
A two-time Oscar nominee for his original screenplays for Dave and Big (which he co-wrote with Anne Spielberg), Ross made his feature film directorial debut with Pleasantville in 1998, which also starred Tobey Maguire. He was joined by a talented production team behind the scenes, several of whom he has collaborated with in the past, such as production designer Jeannine Oppewall (L.A. Confidential), editor Billy Goldenberg (Au), Oscar-winning composer Randy Newman (Meet the Parents) and costume designer Judianna Makovsky (Harry Potter and the Sorcerer’s Stone), who was Oscar-nominated for her work on Pleasantville. John Schwartzman (Pearl Harbor, Armageddon) served as director of photography.
Seabiscuit: An American Legend is one of the most popular and widely read non-fiction books of recent years and remains at the top of The New York Times paperback best-seller list. Much like the horse himself, who ultimately became one of the most electrifying and popular sports attractions in history and the single biggest newsmaker in the world in 1938, the book has become a national phenomenon.
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https://old.soulisauctions.com/Cat/LP24468-an-original-the-story-of-seabiscuit-movie-poster
|
en
|
235: AN ORIGINAL 'THE STORY OF SEABISCUIT' MOVIE POSTER
|
[
"https://old.soulisauctions.com/images/Catshow/catshow-link.png"
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""
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Starring Shirley Temple and Barry Fitzgerald, copyright 1949 Warner Bros. lower left, green screen-printed announcements for HOME Theatre and BUGS BUNNY cartoons in the upper and lower margins.
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https://soulisauctions.com/images/ico/SA_Icon.ico
|
http://old.soulisauctions.com/Cat/LP24468-an-original-the-story-of-seabiscuit-movie-poster
|
Starring Shirley Temple and Barry Fitzgerald, copyright 1949 Warner Bros. lower left, green screen-printed announcements for HOME Theatre and BUGS BUNNY cartoons in the upper and lower margins.
Measures 22 x 14 inches, frame size 23.5 x 15.5 inches.
Apparently the condition is very good. There are no visible issues of damage, repair, stain, discoloration or trimming, even overall toning. This work has not been examined outside the frame.
$100 - $200
The Castleman Collection of Antique American Advertising
Saturday, February 9th 2019
SOLD - $160
Sold Price does not include Buyer's Premium
|
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3
| 3
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https://screenwritingfromiowa.wordpress.com/2008/11/24/seabiscuit-revisited-in-2008/
|
en
|
Seabiscuit Revisited in 2008
|
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2008-11-24T00:00:00
|
“You don’t just throw a whole life away just because it’s banged up a little.” Tom Smith (played by Chris Cooper) …
|
en
|
https://s1.wp.com/i/favicon.ico
|
Screenwriting from Iowa
|
https://screenwritingfromiowa.wordpress.com/2008/11/24/seabiscuit-revisited-in-2008/
|
“You don’t just throw a whole life away just because it’s banged up a little.”
Tom Smith (played by Chris Cooper)
Seabiscuit’s trainer
“This is not a movie about victory, but about struggle.”
Gary Ross, Screenwriter/Director
Seabiscuit
Seabiscuit turned five this year — not the horse, of course, but the movie. And I wish Universal would re-release the film in theaters this holiday season. (In the digital projection future those decisions will be easier to make.)
The film originally came out in the summer of 2003. The economy was still in a slump from the terrorist events surrounding 911. Unemployment was high. The Laura Hillenbrand book, Seabiscuit: An American Legend, about a race horse set in the Great Depression was already a #1 New York Times bestseller.
The movie had a solid box-office run and was nominated for 7 Academy Awards. It was not only my favorite film of that year, but I’d put it in the top ten of my all time favorites. In my book it is across the board solid filmmaking on par with Rain Man and On the Waterfront. As time goes by that film will continue to find favor because it is a film with many layers.
(Seabiscuit is also the only movie poster I own. And as seen in the above photo, I keep it close by where I edit for inspiration. It just so happened that I moved to Iowa in the Summer of ’03 and for various reasons it was a hard enough transition that I saw Seabiscuit three times just in movie theaters.)
And the reason I’d love to see a re-release of the film is because the theme resonates even more today than it did even in 2003. Unemployment is higher today than it’s been in the past 15 years. While the stock market hasn’t crashed it has recently seen some of its greatest declines since the Great Depression. And then there is the auto industry.
Seabiscuit is set in a time of transition in the United States. A transition from the natural to the mechanical on one level and an examination of the American Dream on another level. And all wrapped together around three broken people and one broken horse.
It’s a movie that could have turned into a bad After School Special in the wrong hands, but in careful hands is a classic movie.
Of course, one thing that is happening now that wasn’t the case in 2003 is the auto industry is in a slump. What has been called the back bone of industry in our country is in trouble. Reports of sales being a third lower than normal are causing a ripple effect throughout the country. By some accounts the auto industry represents 10% of all US jobs when you begin to connect the related industries.
Maybe we could have a double feature with Seabiscuit. Remember the Ron Howard film Gung Ho? It starred Michael Keaton as a worker who has to justify his automotive job with the Japanese company that has taken over. By all accounts some US automotive companies need some major restructuring to survive.
In the movie Seabiscuit automobiles represent the future and bring wealth to Howard (played by Jeff Bridges), but it comes at a price. His son is killed in an automobile accident. And it is Howard who must find a way to put the pieces back together again. And along the way there is the forgotten horse trainer (Chris Cooper) and the angry jockey Red (Tobey Maguire) who are all brought together because of an underrated race horse. It’s a story of brokenness and restoration.
On the DVD commentary Gary Ross comments, “Howard is a guy who lost his son, and Red is a guy who lost his father. That’s just kind of the basic facts of it both in almost a cataclysmic way. And that original wound can never be righted but you can make peace with the pain in your life and somehow kind of continue. It can’t replaced, but it can be understood.”
And what’s special about Seabiscuit is it’s a film that connects with most of our lives. In fact, the closing shot is not one of victory, but one of a point of view of the audience on the horse as if to imply this is race we are all in. There will be battles and scars. But get back on the horse. As one friend tells his little boys when they get scrapes–“cuts and scars are proof of living.”
And Ross is careful to convey that these characters are far from perfect. “We labor under the tyranny of perfect heroes. Especially with movies that cost any money and everything gets homogenized down to things that are not objectionable or that are only heroic. The things that are ultimately most heroic are people struggling against their own obstacles or struggling to become something or struggling against their flaws and that’s what’s really heroic right there. I was lucky, I had three flawed heroes.”
And of course, this all started with the words written by Laura Hillenbrand as she researched and wrote the book over a course of years. Struggle is not foreign to Hillenbrand who has suffered from chronic fatigue syndrome since she was a college student in Ohio.
At 19 she had to abandon her dreams of some day getting a Ph.D. and in an interview with Anne A. Simpkinson said, “I spent the first year of my illness pretty much bed-bound and when I began to improve a little bit in 1988, I needed some way to justify my life.” She turned to writing.
In an article she wrote for The New Yorker, A Sudden Illness — How My Life Changed, Hillenbrand recounts the long process of adapting to her new life and how hard it was to write, “Because looking at the page made the room shimmy crazily around me, I could write only a paragraph or two a day… It took me six weeks to write 1,500 words.” Knowing that adds weight to her writing (not that it needs it).
“Man is preoccupied with freedom yet laden with handicaps.”
Laura Hillenbrand
Seabiscuit, An American Legend
If you’re a writer, Hillenbrand recounting the difficulties she endured while researching and writing Seabiscuit will probably give you little room to complain about the difficulties surround your situation. She wrote the first article on Seabiscuit from a tiny apartment in Washington, D.C.
And whatever grace Hillenbrand tapped into to write that book was passed on to screenwriter Gary Ross as he translated the 400 page book into a two hour and 21 minute movie. And in one of the rare cases in movie history the author was pleased with the movie script; “I found myself struck by how deftly Gary had managed to weave so much of the story into so short a time without it feeling compressed or rushed. Gary’s screenplay is simply brilliant, and I am so deeply grateful to him for his immense effort, his creativity, and his inspiration.”
On a closing note, if I recall correctly there were some interesting choices Ross made while adapting the script. I don’t expect to see every character in the book but from memory here are a handful of changes you may find interesting from a writer’s perspective and why I think they were made:
1) Howard’s son who was killed in real life was a teenager and not his only son. By making him younger and the only son creates more empathy for Howard.
2) Howard’s second wife Marcela (Elizabeth Banks) was actually the sister of his son’s wife. But why complicate the story? Plus in the movie there is only one son and he’s killed in his youth.
3) Tick-Tock McGlaughlin the colorful character played by William Macy is a fictitious character. And by Ross’ admission he’s there to compress the needed exposition to keep the story moving forward.
4) Ross also chose to end the movie when a sense of order had been restored in each of the lives. It’s a great jumping off point. But the epilogue in the book is a little different.
5) Hillenbrand writes that while Red lived close to the pulse of Tijuana that, “he appears to have passed up offers from Tijuana prostitutes.” Ross chose to use Red in the brothel as key scene where he learns of his vision problems. This is in the movie because I think there is a quota in Hollywood where x-amount of movies must have a prostitute or a pole dancer in it.
If you have never seen Seabiscuit do yourself a favor and see it before the end of the year, and if you just lost your job watch it tonight.
And for the writers out there here’s Hillenbrand quoted in the Ballinetine Books, Seabiscuit, The Screenplay reminding us of the power of storytelling:
“I was thinking ‘if I can sell five thousand copies (of Seabiscuit) out of the truck of my car, I’ll be happy.’ I just wanted to tell the story.”
Update November 27: Happy Thanksgiving. A day after I wrote this post I saw an ad for a new film called The Tale of Despereaux with the tagline about a “Small Hero. Big Heart.” Sounded kinda like Seabiscuit. I looked who to see who the screenwriter was and it’s Gary Ross. I look forward to that Christmas release.
If you’re looking for a Thanksgiving movie to watch today check out Pieces of April on DVD which is a wonderful film I’ve written a little bit about. It stars Katie Holmes and was written and directed by Des Moines, Iowa native Peter Hedges (What’s Eating Gilbert Grape?). And for you indy filmmakers that film was made just a few years ago using a Sony PD 150 DV camera that you can find on ebay these days for under $1,500.
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https://www.bedbathandbeyond.com/Home-Garden/Seabiscuit-Movie-Poster-Print-27-X-40-Item-Movef9905/36322049/product.html
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en
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Seabiscuit Movie Poster Print (27 X 40) Item Movef9905
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Shop for Seabiscuit Movie Poster Print (27 X 40) Item Movef9905 and more at everyday discount prices with free shipping over $45* on Overstock.com - Your Online Art Gallery Store!
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Chevron Down
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https://agreenmanreview.com/film-3/gary-ross-seabiscuit/
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Gary Ross’ Seabiscuit
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https://agreenmanreview.com/film-3/gary-ross-seabiscuit/
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I have to tell you that I cried at all the wrong places in this movie. Charles Howard’s son dies. Did I cry? No. Charles gives Red Pollard a financial loan, signifying his trust in someone other people consider unstable and washed-up. Did I cry? Nyet. Red Pollard listens from his hospital bed while one of his closest friends rides his horse to victory. Tears from this reviewer? Non. At all these points, sniffs were audible in the theatre all around me. Don’t get me wrong — they were poignant scenes, beautifully acted. I just don’t cry about things like that.
But I teared up every time I saw the horse(s) who play Seabiscuit take the track. It’s beautiful! The way horses run when they’re racing… there’s an emotion in it that isn’t human, but that I find heart-rending all the same. In this, I am directly opposed to David Edelstein, who in his review grinches about the fact that several anonymous horses play the character of “Biscuit.” Whatever. It worked for me.
I suppose, though, that I’m starting this film review from the wrong end. Story? you ask. Actors? Music?
The story is what makes this, a film about horse-racing, something you’d expect to see reviewed in GMR. Based on a book by Laura Hillenbrand, it’s a story about a horse and several men who have fallen out of the system, only to fight their way back, to win, to “make it.” Throughout the movie, interwoven with the action, there is actual film footage from the Great Depression, and it’s clear that we’re supposed to see how a scrawny, injured horse who just has to get in there and run his heart out captured the imagination of a staggering, demoralized nation. Seabiscuit was a folk hero, suggests this movie (and the book), as were his jockey Red Pollard, his trainer Tom Smith, and his owner Charles Howard.
Interestingly enough, this is true. I went to see the movie with a friend, and she talked with her eighty-five-year-old father about it afterward. He told her that yes, he remembers Seabiscuit. He remembers everyone talking about the little horse who wouldn’t quit. He remembers Seabiscuit’s story being the center of people’s conversation, and how they all gathered around the radio to listen to his races. And how his success became part of their own hopes to “make it.”
The acting in Seabiscuit is good. The word “superb” doesn’t come to mind, simply because most of the actors don’t stand out. But I think, really, that that’s a good thing. The story shines here, not the individual performances. I was a little surprised initially at Tobey Maguire’s performance as Red Pollard, who was allegedly a hard-drinking, womanizing sort of fellow. Maguire plays Pollard as a sweet — if hot-headed — reader of Victorian hero stories and poetry. Sure, he drinks, but he’s never really mean. He’s nice.
In fact, everyone here is nice. Those of us who went to see the movie together commented about it afterward. Accustomed as we are to Hollywood’s cack-handed attempts at “gritty” real life characters, we kept expecting “complexity” that never came. Charles Howard (played by Jeff Bridges with a sort of easy largesse of style that makes you think, “This man could play a king, and pull it off!”), the millionaire who loses his son in a tragic accident, and his wife to divorce shortly thereafter, is a nice guy. He’s a visionary, he’s ambitious, but he doesn’t trample his employees or lash out at his wife. And even though she divorces him, she’s not made out to be his betrayer, just a grieving woman who can’t bear to be married to the father of her lost son anymore. We sympathize with both of them.
Tom Smith (played by Chris Cooper, whose cowboy squint is worth its weight in gold), the old out-of-work cowboy who becomes Biscuit’s trainer, is crusty and eccentric, but he’s really a nice guy, after all. William H. Macy is a loveable, laughable Tick Tock McLaughlin, the good ol’ radio announcer who begins by doubting Biscuit and ends up a staunch, breathless fan, leading millions of radio listeners to cheer the little horse’s wins.
After all this, when Elizabeth Banks steps onstage in her red, red lipstick as the woman who will become Charles Howard’s second wife, Marciela, we in the theatre were ready. “Here she is,” we turned to one another and murmured. “The siren who wants him for his money.” Nope. She’s nice, too. She loves Charles, loves Biscuit, and encourages Red to forget about that starving jockey tradition and eat his vegetables.
Do I sound cynical? I’m not, actually. It was, in fact, a pleasure to watch an entire film about nice, generous people. Even the bad guy, the millionaire who owns Biscuit’s only rival (an ominous, hugely gorgeous black horse that made my eyes fill up yet again) is the sort of villian you love to hate. He’s paunchy, he squints — but with the wealthy tycoon squint, not the cowboy-who’s-gazed-out-at-a-thousand-sunsets squint — and he’s comfortably forgettable. I don’t remember his name. I was going to look it up for this review, but it’s not really necessary to know who he is.
There is one exception to all the niceness, however. And that’s Gary Stevens in the role of George “The Iceman” Woolfe. Yes, what you’ve heard is true. Stevens is an actual Hall of Fame jockey. He’s just published an autobiography entitled The Perfect Ride. This is his acting debut. And merciful heavens above, the man is lovely to behold! Blue, blue eyes, chiselled features, perfect build. If he were six foot five, he couldn’t be any more handsome than he is.
But I’m not just a sucker for a pretty face. George Woolfe is one of Red Pollard’s closest friends, and when Red ends up in the hospital and can’t ride Biscuit, it’s Woolfe he turns to. Gary Stevens plays Woolfe as the most outstanding character in the film. He’s a confident, bordering on arrogant, jockey who has the champion’s drive to win. He’s also a best friend who never tries to steal your girl — or horse, in this case — while you’re laid up. I got weepy (again) when I watched Woolfe train on Biscuit, learning what motivates this horse, using all of that skill to help Biscuit win his race against his nemesis. And then, even while the crowds are cheering for handsome, photogenic “Ice Man,” he gladly gives Biscuit back to his real jockey, Red.
The music for the film, by Randy Newman, is like most of the acting: good but not superb. It’s perfectly suited to a “Yay, America!” movie. It has hints of Aaron Copland, fragments of Appalachian folk tunes. It’s big, moving, and comfortable. It’s not memorable in and of itself. I don’t want to run out and buy the soundtrack. But it enhances the story and the setting the way a good valet makes his employer shine.
Final word? Seabiscuit is a really nice movie. And that’s not a bad thing.
(Universal Studios, 2003)
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https://www.tiktok.com/discover/paul-harvey-rest-of-the-story-alcatraz-cell
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Make Your Day
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https://www.badfishposters.com/shop/movies/seabiscuit-vertical-poster/
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en
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Vertical poster - BadFishPosters
|
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2019-08-23T13:55:13+00:00
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Unique movie posters made in Sweden. Much like the movie itself, the Seabiscuit alternative movie poster is a unique piece of art. Get yours here.
|
en
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BadFishPosters
|
https://www.badfishposters.com/shop/movies/seabiscuit-vertical-poster/
|
A Long Shot Becomes A Legend
Much like the movie itself, this alternative movie poster is a unique piece of art. The detailed high contrast black and white design combined with the catchy bold title and the supporting tagline visually summarize the movie. The illustration of an important detail or a key scene of the movie and good cinematically thinking make the poster worth a thousand words. That’s the art of the minimal movie poster, telling so much with so little.
Made after a night at the movies in Sweden.
:: If your favorite movie is over, why not put it on the wall? – calo
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5867
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https://www.facebook.com/photo.php%3Ffbid%3D956607278090892%26id%3D417854758632816%26set%3Da.417858391965786%26locale%3Dde_DE
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en
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Facebook
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https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico
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https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico
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Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
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https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico
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https://www.facebook.com/login/
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5867
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dbpedia
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| 1
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https://www.secondstorybooks.com/pages/books/1377871/original-the-story-of-seabiscuit-movie-poster
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en
|
ORIGINAL "THE STORY OF SEABISCUIT" MOVIE POSTER
|
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1949. Movie theatre insert measures 14 in. x 36 in. In Good condition. Moderate age toning and light soiling to the surface. Wear to edges and corners including close tears which are reinforced with adhesive taps. Two small pin holes to the upper part of of the poster. Creasing along original folding lines. Shelved in Rockville Room A. FJ Consignment.
|
en
|
https://www.secondstorybooks.com/favicon.ico
|
Second Story Books
|
https://www.secondstorybooks.com/pages/books/1377871/original-the-story-of-seabiscuit-movie-poster
|
1949. Movie theatre insert (measures 14 in. x 36 in.) In Good condition. Moderate age toning and light soiling to the surface. Wear to edges and corners including close tears which are reinforced with adhesive taps. Two small pin holes to the upper part of of the poster. Creasing along original folding lines. Shelved in Rockville Room A. FJ Consignment.
1377871
Special Collections
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5867
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https://www.biblio.com/book/original-story-seabiscuit-movie-poster/d/1592887083
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en
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ORIGINAL "THE STORY OF SEABISCUIT" MOVIE POSTER
|
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1949-08-16T00:00:00
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Find ORIGINAL
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en
|
Biblio.com
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https://www.biblio.com/book/original-story-seabiscuit-movie-poster/d/1592887083
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https://en.wikipedia.org/wiki/Woody_Strode
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en
|
Woody Strode
|
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2005-07-20T03:43:28+00:00
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en
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/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Woody_Strode
|
American athlete and actor (1914–1994)
Woodrow Wilson Woolwine Strode (July 25, 1914 – December 31, 1994) was an American athlete, actor, and author. He was a decathlete and football star who was one of the first Black American players in the National Football League (NFL) in the postwar era. After football, he went on to become a film actor, where he was nominated for a Golden Globe Award for Best Supporting Actor for his role in Spartacus in 1960. Strode also served in the United States Army Air Corps during World War II.[1]
Early life and athletic career
[edit]
Strode was born in Los Angeles. His parents were from New Orleans; his grandmother was of African-American and Cherokee descent, his grandfather was an African-American and his grandmother was of Cree descent.
He attended Thomas Jefferson High School in South East Los Angeles and college at UCLA, where he was a member of Alpha Phi Alpha fraternity. His world-class decathlon capabilities were spearheaded by a 50 ft (15 m) plus shot put (when the world record was 57 ft (17 m)) and a 6 ft 5 in (1.96 m) high jump (the world record at time was 6 ft 10 in (2.08 m)).[3]
"I got a cultural education—majored in history and education," he said in a 1971 interview. "Never used it, but I could walk into the White House with it now."[3]
Strode posed for a nude portrait, part of Hubert Stowitts's acclaimed exhibition of athletic portraits shown at the 1936 Berlin Olympics (although the inclusion of black and Jewish athletes caused the Nazis to close the exhibit).[4][5]
College career
[edit]
Strode, Kenny Washington, and Jackie Robinson starred on the undefeated 1939 UCLA Bruins football team, in which they made up three of the four backfield players.[6] They became famous nationally as "the Gold Dust gang".[7]
Along with Ray Bartlett, there were four Black Americans playing for the Bruins, when only a few dozen at all played on other college football teams.[8] They played eventual conference and Helms national champion USC to a scoreless tie with those championships and 1940 Rose Bowl on the line. It was the first UCLA–USC rivalry football game with national implications.[9]
Early acting appearances
[edit]
Strode made his first film appearance in Sundown (1941), playing a native policeman. He had a small role in Star Spangled Rhythm (1942), as a chauffeur of Rochester (Edward Anderson), and could be glimpsed in No Time for Love (1943).
When World War II broke out, Strode was playing for the Hollywood Bears in the Pacific Coast Professional Football League. He was drafted at age 27 and soon joined the United States Army Air Corps and spent the war unloading bombs in Guam and the Marianas, as well as playing on the Army football team at March Field in Riverside, California.
After the war, he worked at serving subpoenas and escorting prisoners for the L.A. County District Attorney's Office. Strode and Kenny Washington were two of the first African Americans to play in major college programs and later the modern National Football League (along with Marion Motley and Bill Willis, who signed with the contemporary rival All-America Football Conference), playing for the Los Angeles Rams in 1946. No black men had played in the NFL from 1933 to 1946.[11] UCLA teammate Jackie Robinson would go on to break the color barrier in Major League Baseball (in fact, Robinson, Strode, and Washington had all played in the semi-professional Pacific Coast Professional Football League earlier in the decade).
Around the year 1939, Strode, Washington and Robinson provided the UCLA with one of its best seasons in American Football. This had given the three a boost in fame, with fans referring to them as "The Gold Dust Gang". Woody Strode was one of the end position players while Kenny was a running back. Unable to join professional football at the time, the two participated as semi-professional players for the Hollywood Bears.[7]
When out on the road with the team, Strode had his first experience with racism, something he wasn't aware of growing up in Los Angeles. "We were unconscious of color. We used to sit in the best seats at the Coconut Grove (a nightclub in the Ambassador Hotel) listening to Donald Novis sing. If someone said, 'there's a Negro over there,' I was just as apt as anyone to turn around and say 'Where?'"[12] He also said, "On the Pacific Coast there wasn't anything we couldn't do. As we got out of the L.A. area we found these racial tensions. Hell, we thought we were white."[13] One instance where he became the victim of a racial barrier was when the National Football League acted in response to Caucasian players complaining about African Americans taking up job opportunities.[7]
In 1948, he signed with the Brooklyn Dodgers of the AAFC, but was released before the season started,[14] whereupon he joined the Calgary Stampeders of the Western Interprovincial Football Union in Canada, where he was a member of Calgary's 1948 Grey Cup Championship team[15] before retiring due to injury in 1949. He broke two ribs and a shoulder. "It was like I had fought Joe Louis," he recalled.[3]
Professional wrestling career
[edit]
In 1941, Strode had dabbled for several months in professional wrestling. Following the end of his football career in 1949, he returned to wrestling part-time between acting jobs until 1962, wrestling the likes of Gorgeous George.
In 1952, Strode wrestled almost every week from August 12, 1952, to December 10, 1952, in different cities in California. He was billed as the Pacific Coast Heavyweight Wrestling Champion and the Pacific Coast Negro Heavyweight Wrestling Champion in 1962.[17] He later teamed up with both Bobo Brazil[18] and Bearcat Wright.[citation needed]
Acting career
[edit]
Strode's acting career was re-activated when producer Walter Mirisch spotted him wrestling and cast him as an African warrior in The Lion Hunters (1951), one of the Bomba the Jungle Boy series.[19] They wanted him to shave his head. He was reluctant until they offered him $500 a week. "I said, 'All right, where are the pluckers?'" Then Strode realised: "I was out in the world market with a bald head. Trapped for life. Finally, it became way of life."[3] He had roles in Bride of the Gorilla (1951), African Treasure (1951) (another Bomba film), an episode of Dangerous Assignment (1952), Caribbean (1952), and Androcles and the Lion (1952), playing the lion, "the toughest job I ever had," he said later.[20]
Strode was in City Beneath the Sea (1953) with Robert Ryan and Anthony Quinn, directed by Budd Boetticher, and The Royal African Rifles. Additionally, he appeared in several episodes of the 1952–1954 television series Ramar of the Jungle, where he portrayed an African warrior. Strode was a gladiator in Demetrius and the Gladiators (1954) and was in Jungle Man-Eaters (1954), a Jungle Jim film. He could be seen in The Gambler from Natchez (1954), Jungle Gents (1954) a Bowery Boys movie set in Africa, and The Silver Chalice (1954). He was in a TV adaptation of Mandrake the Magician (1954), a pilot for a series not picked up, and had small parts in Son of Sinbad (1955), Soldiers of Fortune (1955), and Buruuba (1956) a Japanese film set in Africa. He appeared once on Johnny Weissmuller's 1955–1956 syndicated television series Jungle Jim and was in an episode of Private Secretary.
Cecil B. DeMille cast him in The Ten Commandments (1956) as a slave at $500 a week for five weeks. They were unable to find anyone to play the Ethiopian king so Strode was given that role too.
He had a support role in Tarzan's Fight for Life (1958) and a small part in The Buccaneer (1958). In 1959 he portrayed the conflicted, some would say cowardly, Private Franklin in Pork Chop Hill, which brought him critical acclaim.[3] He called it "the first dramatic thing that I had done."[7] He guest starred on The Man from Blackhawk (1960). [22]: 298
Rising fame
[edit]
Strode was next cast in Spartacus (1960) as the Ethiopian gladiator Draba, in which he has to fight Spartacus (played by Kirk Douglas) to the death. Draba wins the contest, but instead of killing Spartacus, he attacks the Roman military commander who paid for the fight. He is killed and his death sparks a gladiator rebellion.
Strode had an excellent support part in The Last Voyage (1960) playing a heroic stoker, though he was only billed fifth.
While making Pork Chop Hill he became a close friend of director John Ford. Ford gave Strode the title role in Sergeant Rutledge (1960) as a member of the Ninth Cavalry, who is greatly admired by the other black soldiers in the unit and is falsely accused of the rape and murder of a white woman.
"The big studios wanted an actor like Sidney [Poitier] or [Harry] Belafonte," recalled Strode. "And this is not being facetious, but Mr. Ford defended me; and I don't know that this is going on. He said, "Well, they're not tough enough to do what I want Sergeant Rutledge to be."[7]
"That was a classic," he later said. "It had dignity. John Ford put classic words in my mouth... You never seen a Negro come off a mountain like John Wayne before. I had the greatest Glory Hallelujah ride across the Pecos River that any black man ever had on the screen. And I did it myself. I carried the whole black race across that river."[3]
Strode had difficulty maintaining the momentum of these roles. He was in The Sins of Rachel Cade (1961) and guest starred twice on Rawhide, playing an Australian aboriginal in one episode and a buffalo soldier in the other. Ford used him again in Two Rode Together (1962) but it was only a small part, as an Indian. He had a bigger role in The Man Who Shot Liberty Valance (1962) for Ford, playing Pompey, John Wayne's hired hand. In the film, Strode's character recites the Declaration of Independence but apologizes for forgetting the phrase "all men are created equal", a poignant line for the 1962 audience. Pompey/Strode physically carries and thereby saves a drunken, suicidal John Wayne from his burning home.
In 1963, he was cast opposite Jock Mahoney's Tarzan as both the dying leader of an unnamed Asian country and that leader's unsavory brother, Khan, in Tarzan's Three Challenges. He guest starred on The Lieutenant, The Farmer's Daughter and Daniel Boone and had roles in the features Genghis Khan (1965) and 7 Women (1966), the latter the last film he made for Ford. Strode was very close to the director. "He treated me like a son," said Strode. "I had a certain amount of crudeness that went back a hundred years, and that's what he liked."[20]
During Ford's declining years Strode spent four months sleeping on the director's floor as his caregiver, and he was later present at Ford's death.
In the late 1960s, he appeared in several episodes of the Ron Ely Tarzan television series. Strode's other television work included a role as the Grand Mogul in the Batman episodes "Marsha, Queen of Diamonds" and "Marsha's Scheme of Diamonds".
Strode landed a major starring role as an expert archer and soldier of fortune in the 1966 Western The Professionals. His name was the only one of the four "professionals" which was left off the movie poster; nevertheless, the film was a major box-office success establishing him as a recognizable star.
In 1967, he attempted to produce his own film, The Story of the Tenth Cavalry, but it was not made.[20]
He based himself in Europe from 1968 to 1971.[7]
Europe
[edit]
His 1968 starring role as a thinly-disguised Patrice Lumumba in Seduto alla sua destra (released in the U.S. as Black Jesus) garnered Strode a great deal of press at the time, but the film is largely forgotten now.[citation needed] He was an Indian in Shalako (1968) and played a gunslinger in the opening sequence of Sergio Leone's Once Upon a Time in the West (1968). He decided to stay in Europe. "I had five pairs of blue jeans, I was lonely, and I didn't speak the language," he said. "But the producers answered, 'Not necessary. You ride horses.'" [20]
Strode was in Che! (1969) and supported Terence Hill and Bud Spencer in Boot Hill (1969) shot in Italy. He stayed in Europe to make another Western The Unholy Four (1970) and went back to Hollywood to do a TV movie Breakout (1970) and two Westerns The Deserter (also known as "The Devil's Backbone") (1971), and The Gatling Gun (1971). The scripts for these were variable but Strode later said "Me, I didn't care. If the money was right, I'd play Mickey Mouse.”[3]
Strode went to Europe to make Scipio the African (1971) and did some more Westerns: The Last Rebel (1971), and The Revengers (1972) (a "regular knockdown, drag‐out western", said Strode[3]). He later said his salary in Italy went up to $10,000 a week. He did The Italian Connection (1972), for which he was paid $150,000. "Race is not a factor in the world market," he said in 1981. "I once played a part written for an Irish prize fighter. I've done everything but play an Anglo-Saxon. I'd do that if I could. I'd play a Viking with blue contact lenses and a blond wig if I could. My dream is to play a Mexican bandit in the international market."[20]
He also appeared in Key West (1973), Loaded Guns (1975), The Manhunter (1975), We Are No Angels (1975), Winterhawk (1975), Keoma (1976), episodes of The Quest (1976) and How the West Was Won (1977), Oil (1977), Martinelli, Outside Man (1977), Kingdom of the Spiders (1977), Cowboy-San! (1978), Ravagers (1979), Jaguar Lives! (1979), and an episode of Buck Rogers in the 25th Century (1979).
Later career
[edit]
Strode's later appearances included Cuba Crossing (1980),The Dukes of Hazzard (1980), Scream (1981), Fantasy Island (1981), Vigilante (1982), Invaders of the Lost Gold (1982), Angkor: Cambodia Express (1983), The Black Stallion Returns (1983), The Violent Breed (1984), Jungle Warriors (1984), The Cotton Club (1984), The Final Executioner (1984), Lust in the Dust (1985), On Fire (1987), and A Gathering of Old Men (1987). He was in Storyville (1992), and Posse (1992), working with director Mario Van Peebles. His last film was The Quick and the Dead (1995), which starred Sharon Stone, Gene Hackman, Leonardo DiCaprio, and Russell Crowe. The closing credits dedicate the film to Strode, who died shortly before its release.
In 1980, Strode was inducted into the Black Filmmakers Hall of Fame.[25] In 2021, he was inducted into the Hall of Great Westerners of the National Cowboy & Western Heritage Museum.[26]
Personal life and death
[edit]
His first wife was Princess Luukialuana Kalaeloa (a.k.a. Luana Strode), a distant relative of Liliuokalani, the last queen of Hawaii. "You'd have thought I was marrying Lana Turner, the way the whites in Hollywood acted," he later said.[7]
With her he had two children: a son, television director Kalai (a.k.a. Kalaeloa, 1946–2014), and a daughter, June. They were married until her death in 1980 from Parkinson's disease.[28][29] In 1982, at the age of 68, he wed 35-year-old Tina Tompson[29] and they remained married until his death from lung cancer on December 31, 1994, in Glendora, California, aged 80.[30] He is buried at Riverside National Cemetery in Riverside, California.[31]
Strode was a dedicated martial artist under the direction of Frank Landers in the art of Seishindo Kenpo.[32]
Tributes
[edit]
Sheriff Woody of the Toy Story series of animated films is named after Strode,[33] as was the recurring character of the Santa Barbara Coroner in the television series Psych.[34]
Championships and accomplishments
[edit]
Cauliflower Alley Club
Iron Mike Mazurki Award (1992)[35]
Filmography
[edit]
Year Title Role Notes 1961 Rawhide Corporal Gabe Washington S3:E10, "Incident of the Buffalo Soldier" 1961 Rawhide Binnaburra S3:E20, "Incident of the Boomerang"
TELEVISION: Mr Strode Guest Starred as 'Willie' in The Dukes of Hazzard, Season 3, Episode 7 'The Great Ssnta Claus Chase.'
Author
[edit]
Strode wrote an autobiography titled Goal Dust (ISBN 0-8191-7680-X).
References
[edit]
Citations
[edit]
Sources
[edit]
Atwood, Gretchen (September 6, 2016). Lost Champions: Four Men, Two Teams, and the Breaking of Pro Football's Color Line. New York: Bloomsbury USA. ISBN 9781620406007. OCLC 956379043.
Epstein, Dwayne (1994). "Interview with Woody Strode". Filmfax.
Strode, Woody; Young, Sam (1993). Goal Dust: The Warm Candid Memoirs of a Pioneer Black Athlete and Actor. Rowman & Littlefield. ISBN 9781568330143 .
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http://www.impawards.com/2003/seabiscuit_ver2.html
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en
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Seabiscuit Movie Poster (#2 of 5)
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http://www.impawards.com/2003/thumbs/imp_seabiscuit_ver2.jpg
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http://www.impawards.com/2003/thumbs/imp_seabiscuit_ver2.jpg
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High resolution official theatrical movie poster (#2 of 5) for Seabiscuit (2003). Image dimensions: 977 x 1444. Directed by Gary Ross. Starring Jeff Bridges, David McCullough, Chris Cooper, Tobey Maguire
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en
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Want to buy the poster? Try these links:
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5867
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dbpedia
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https://fineartamerica.com/shop/posters/seabiscuit
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Seabiscuit Posters for Sale
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Choose your favorite Seabiscuit posters from 67 available designs. These stunning Seabiscuit posters will make a beautiful addition to any decor. Based on the true story of one of the most remarkable comebacks in sports history, Seabiscuit stars Tobey Maguire as horse trainer Tom Smith and Jeff Bridges as owner Charles Howard. These posters range from action shots of Seabiscuit racing to inspiring images that capture the spirit of this timeless story. With a variety of sizes available, you're sure to find something special for your home!
|
en
|
Fine Art America
|
https://fineartamerica.com/shop/posters/seabiscuit
| ||||||
5867
|
dbpedia
|
1
| 63
|
https://www.pbs.org/wgbh/americanexperience/features/seabiscuit-preview/
|
en
|
Seabiscuit: Trailer
|
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[] |
[] |
[
""
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[] | null |
Seabiscuit's unlikely career illuminates the precarious economic conditions that defined America in the 1930s and explores the behind-the-scenes world of thoroughbred racing.
|
en
|
https://www.pbs.org/wgbh/americanexperience/features/seabiscuit-preview/
|
The Riot Report
When Black neighborhoods across America erupted in violence in the summer of 1967, President Johnson appointed a commission to find the cause for the unrest. Their findings offered an unvarnished assessment of American race relations.
The Riot Report (español)
Cuando una ola de violencia se apoderó de barrios negros por todo Estados Unidos en el verano de 1967, el presidente Johnson nombró una comisión para encontrar la causa de los disturbios. Sus hallazgos ofrecieron una evaluación honesta de las relaciones raciales estadounidenses.
Poisoned Ground: The Tragedy at Love Canal
In the late 1970s, residents of Love Canal in Niagara Falls, NY discovered their neighborhood had been built on a former chemical waste dump. Housewives activated to create a grassroots movement that galvanized the landmark Superfund Bill.
|
||||||
5867
|
dbpedia
|
2
| 61
|
https://www.metacritic.com/movie/seabiscuit/
|
en
|
Seabiscuit
|
[
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[] |
[] |
[
""
] | null |
[] |
2003-07-25T00:00:00+00:00
|
The tale of a down-and-out racehorse that took the entire nation on the ride of a lifetime. (Universal Pictures)
|
en
|
https://www.metacritic.com/movie/seabiscuit/
|
Nick Hyman
We rank every film in the Alien franchise, from the 1979 original to the new Alien: Romulus, from worst to best by Metascore.
Jason Dietz
Find a schedule of release dates for every movie coming to theaters, VOD, and streaming throughout 2024 and beyond, updated daily.
Jason Dietz
Find a list of new movie and TV releases on DVD and Blu-ray (updated weekly) as well as a calendar of upcoming releases on home video.
Jason Dietz
We rank every live-action film adapted from a video game—dating from 1993's Super Mario Bros. to this month's new Borderlands—from worst to best according to their Metascores.
|
||||||
5867
|
dbpedia
|
1
| 34
|
http://www.originalposter.co.uk/fulldetails.asp%3Frid%3D3945
|
en
|
Original Poster - vintage film and movie posters
|
http://www.originalposter.co.uk/images/android-icon-192x192.png
|
http://www.originalposter.co.uk/images/android-icon-192x192.png
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[] |
[
"movie posters",
"quads",
"film posters",
"lobby cards",
"cinema"
] | null |
[] | null |
Full poster information.
|
images/apple-icon-57x57.png
| null |
Seabiscuit - Original Vintage Film Poster
Category Original Vintage Film Poster Genre Sports Year 2003 Film Star Tobey McGuire, Jeff Bridges, Chris Cooper, horse Size 30 x 40 inch UK Quad Condition A Grade (click for details) Price
£30
PLEASE NOTE: UK ORDERS ARE AUTOMATICALLY CHARGED £10 POSTAGE AND PACKING AT CHECKOUT
PLEASE NOTE: INTERNATIONAL ORDERS WILL BE INVOICED EXTRA POSTAGE OF £15 AFTER CHECKOUT
Details Double sided rolled quad for this great true story reflecting trust between man and animal.
To purchase please click the Add to Cart button.
Please email info@originalposter.co.uk or telephone 01905 620370 if you need further assistance.
|
||||
5867
|
dbpedia
|
1
| 18
|
https://www.commonsensemedia.org/movie-reviews/seabiscuit
|
en
|
Seabiscuit Movie Review
|
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[] |
[] |
[
""
] | null |
[
"Nell Minow"
] |
2003-12-14T00:00:00
|
An inspiring story for teens and up. Read Common Sense Media's Seabiscuit review, age rating, and parents guide.
|
en
|
/themes/custom/common_sense/images/favicons/favicon-16x16.png
|
Common Sense Media
|
https://www.commonsensemedia.org/movie-reviews/seabiscuit
|
This horse lovers' movie is far from perfect, but it offers good, solid, heartwarming entertainment. There is a reason that good movies about sports, almost always about an underdog who overcomes obstacles to succeed, appeal to us in such a visceral fashion. Americans fiercely love athletic heroes because we want to believe that the difference really is in something beyond the physical, that it exists in a big heart and scrappy soul. Seabiscuit brings every evocative notion of the underdog out of the stable in turn but manages to make a movie with familiar themes seem as handsome as a thoroughbred, albeit one that has trouble in the homestretch.
Director Gary Ross does a yeoman's job of trying to capture varied themes in one film. If anything, the themes are kept on such tight reins and are demonstrated to the audience so often that some will find their repetition heavy-handed. Some audiences might find the parts of the movie slow going and the solemn, documentary-styled narration of PBS's own David McCullough a bit on the heavy side. Finally, it is a minor quibble but Maguire sits too heavy in the saddle to be mistaken for a real jockey. Seabiscuit has all the tension, movement and excitement audiences expect from summer flicks, but it has the added bonus of strong acting, which in the summer is often replaced by computer animation or exploding cars.
|
||||
5867
|
dbpedia
|
1
| 59
|
https://presleycollectibles.com/seabiscuit-movie-prop/
|
en
|
Seabiscuit Movie Prop
|
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[] |
2022-09-08T17:31:36+01:00
|
Seabiscuit Movie Prop - this authentic movie prop is covered by our unconditional 90-day returns policy and COA. We ship worldwide.
|
en
|
Presley Collectibles
|
https://presleycollectibles.com/seabiscuit-movie-prop/
|
Screen used newspaper from the film Seabiscuit, front page shows “Cavalry Charge! 5000 “See” Biscuit in St. Louis.”
Eight pages in excellent condition – folded twice as shown.
17″ x 23″ with each page repeating throughout the newspaper.
Seabiscuit is a 2003 American sports film co-produced, written and directed by Gary Ross and based on the best-selling 1999 non-fiction book Seabiscuit: An American Legend by Laura Hillenbrand. The film is loosely based on the life and racing career of Seabiscuit, an undersized and overlooked Thoroughbred race horse, whose unexpected successes made him a hugely popular media sensation in the United States during the Great Depression. At the 76th Academy Awards, Seabiscuit received seven nominations, including Best Picture.
Seabiscuit Movie Prop
For deliveries in the UK we use Royal Mail Special Delivery which is fully trackable and insured up to £750.
For overseas deliveries we may also employ international couriers, in particular UPS, DHL, DPD, EVRI, TNT and USPS. Standard insurance for these orders is £250.
For higher value orders or those requiring expediated international delivery, we can upgrade the shipping on request. There will be an additional charge for these deliveries. Please contact us HERE before placing an order, then use the shipping upgrade page HERE
View our shipping frequently asked questions HERE
View our returns and refund policy HERE
View our terms and conditions HERE
|
|||||
5867
|
dbpedia
|
1
| 13
|
https://www.moviepostershop.com/the-story-of-seabiscuit-movie-poster-1949
|
en
|
The Story of Seabiscuit Movie Posters From Movie Poster Shop
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"David Butler",
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The Story of Seabiscuit posters for sale online. Buy The Story of Seabiscuit movie posters from Movie Poster Shop. Were your movie poster source for new releases and vintage movie posters.
|
https://www.moviepostershop.com/images/favicon.ico
|
https://www.moviepostershop.com/the-story-of-seabiscuit-movie-poster-1949
| |||||||
5867
|
dbpedia
|
2
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https://www.imdb.com/title/tt0329575/characters/nm0177933
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en
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Mit dem Willen zum Erfolg (2003)
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"Factoids",
"Spoilers",
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Seabiscuit - Mit dem Willen zum Erfolg (2003) Chris Cooper as Tom Smith
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IMDb
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https://www.imdb.com/title/tt0329575/characters/nm0177933
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5867
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| 44
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https://www.nytimes.com/2003/08/03/movies/film-playing-the-horses-and-the-horse-people-too.html
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en
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FILM; Playing the Horses (and the Horse People, Too)
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[
"Jane Smiley"
] |
2003-08-03T00:00:00
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Novelist and horse owner Jane Smiley describes screening of movie Seabiscuit attended by members of racing community; preview and party raised $50,000 for injured jockeys, exercise riders and equine research; says horse people criticized inaccuracies in film, but agreed it is best racing movie ever made; photos (M)
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/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico
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https://www.nytimes.com/2003/08/03/movies/film-playing-the-horses-and-the-horse-people-too.html
|
I WAS sitting with my horse trainer outside her office at Santa Anita racetrack. It was 101 degrees, and we were waiting. It was still and quiet. Most of the other trainers had already moved their horses to Del Mar for the summer meet. Between her barn and the one next door, a groom was walking a sleek mahogany bay colt. They paused at the water bucket, and the colt took a drink, then turned his narrow, elegant blaze and his large, expressive eyes toward us. ''That's the big horse,'' said Alexis. ''That's their horse.''
''AtswhatImtalknbout?''
''Yeah.''
He strode on, deliberate in the heat, the racehorse the ''Seabiscuit'' movie people bought a piece of just before he ran in this year's Kentucky Derby. His head was splendid, his neck curved perfectly, his walk was sinuous, his tail flowed long and silky. He was the picture of thoroughbred class. He didn't have a part in the movie.
What we were waiting for was the party to begin, the fundraising preview last month of ''Seabiscuit'' the movie, and soon enough, it did, at the restaurant the jockey George Woolf once owned, the Derby. The restaurant was jammed. A big black bus called the Presidential had brought one party up from Del Mar, and a 36-foot black Hummer limousine had brought in another group. It looked not so much like a vehicle; more like a building. The jockey Chris McCarron, neat as you please in a champagne-colored sportshirt and shorts, greeted us at the door and handed us our favor -- a poster of the movie and a box containing three model horses, Seabiscuit, War Admiral and Pumpkin, the Biscuit's faithful companion. The food was jockey food -- smoked salmon, fruit, no bread or crackers. The crowd was an owners crowd, which means moneyed, but horsey. The men looked vaguely Republican, with a tinge of Vegas -- very smooth creased slacks and bright sportshirts, highly pressed. The women were lean and weathered, no chemical peels in evidence. No one said anything about the movie. What was there to say? It had all been said for them in the racing press, which had been hyping the movie since the spring with ads, articles and come-ons. Even The Daily Racing Form had put out a special flyer. All the hype suddenly seemed a little beneath this crowd, who were, after all, plenty sophisticated and plenty experienced, with a natural demeanor hopeful and skeptical in equal measure.
We went to the movie in buses. Those of us who had paid bottom dollar ($150) sat below the screen and gaped upward, which might have given us a jaded, or at least a dizzied view of the picture. More generous ones (and racing people are wonderfully generous) got reserved seats in the upper tiers. We filled two theaters and were told by the trainer Jenine Sahadi that we had ponied up 50,000 simoleons for laid-up jockeys, exercise riders and equine research. I was impressed.
It took 20 minutes to get to a horse, but when it did, the audience sighed audibly and settled into their seats. It was a mature audience. We remembered that there had been a Great Depression perfectly well and even recognized the picture of F.D.R. that accompanied Professor McCullough's explanation of the New Deal. I began to wonder just whom this ''Seabiscuit'' was aimed at. For a while it seemed aimed at the Bush administration and tax-cut economics.
The audience was patient. We knew horses were coming, and they did, but it wasn't until the entrance of Gary Stevens, making his acting debut as the jockey George Woolf, that we whooped and hooted and clapped in delight. After the death of the son of the rich Buick dealer Charles Howard (Jeff Bridges), the abandonment of the young jockey Red Pollard (Tobey Maguire) by his parents and the crash of the stock market, Gary Stevens's vibrant grace and energy livened things up quite a bit.
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5867
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dbpedia
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1
| 87
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https://www.houzz.com/products/seabiscuit-signed-movie-poster-prvw-vr~179190846
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en
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Seabiscuit signed movie poster, 27x40 inches - Contemporary - Prints And Posters - by Dream On Ventures
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Buy the Seabiscuit signed movie poster online from Houzz today, or shop for other Prints & Posters for sale. Get user reviews on all Home Decor products.
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/favicon/favicon.ico
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Houzz
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https://www.houzz.com/products/seabiscuit-signed-movie-poster-prvw-vr~179190846
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Returns
Houzz offers a 30-day standard return policy for most items. We also accept returns on damaged large or oversized items that ship via freight, as long as you report the damage within 5 days of delivery. View our full Return Policy.
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5867
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3
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https://humanscience.fandom.com/wiki/Seabiscuit
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en
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Seabiscuit
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[
"Contributors to Human Science"
] |
2024-07-29T22:27:06+00:00
|
by Roy Posner Seabiscuit is an Academy Award-nominated 2003 American drama film based on the best-selling book Seabiscuit: An American Legend by Laura Hillenbrand. The story recounts the true-life racing career of Seabiscuit, an undersized and overlooked thoroughbred racehorse whose unexpected...
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en
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/skins-ucp/mw139/common/favicon.ico
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Human Science
|
https://humanscience.fandom.com/wiki/Seabiscuit
|
by Roy Posner
Introduction[]
Seabiscuit is an Academy Award-nominated 2003 American drama film based on the best-selling book Seabiscuit: An American Legend by Laura Hillenbrand. The story recounts the true-life racing career of Seabiscuit, an undersized and overlooked thoroughbred racehorse whose unexpected successes made him a sensation in the United States during the latter years of the Great Depression.
Seabiscuit is also the story of how three men -- Charles Howard, Tom Smith, and Red Pollard -- overcome personal limitations, demons, and tragedies, as well as economic hard times to bring about Seabiscuit's thrilling and inspiring victories. It is a tale of how individuals achieve stunning success through sheer will power, drive, and determination; and where high human values of tolerance, compassion, and forgiveness bring out the best in people, leading to overwhelming good fortune for the principals.
In the end, Seabiscuit is a thrilling story for the ages that can inspire us to aim for the stars so we too can fulfill our deepest aspirations in life.
--------
This essay examines -
·the major themes in the film that lead to its wonderful outcomes, including the infinite potential of the nation, the changes occurring in society at that time, and the ability of individuals and the collective to overcome adversity.
·the inner keys that generate the great accomplishment that occurs in the story -- including the power of psychological strength, positive attitude, high values, focused intention, heartfelt communication and cooperation, and catching the wave of society.
·The subtle principles in the tale revealing life’s character, including the phenomenon of “life response’ (i.e. sudden good fortune), and how difficulty and problems serves to move life forward. This is what I call the “character of life.”
Main Characters[]
Charles Howard[]
Howard is a former bicycle builder, who becomes a wealthy businessperson selling and promoting automobiles. Because of his wealth, he lives in a grand estate that contains a stable of horses and racecars. After his young son dies in a car accident, Howard takes an interest in horseracing and purchases several horses, including Seabiscuit who becomes his ultimate prize.
Howard is entrepreneurial and resourceful; a man with boundless optimism and zeal -- the very embodiment of the can-do American spirit. He is also an individual of integrity, who expresses high human values of tolerance, patience, compassion, and forgiveness.
Howard has the rare capacity to overlook the defects in others and concentrate on their strong points. Such positive attitudes and values not only bring him personal success, but enable the people around him to succeed as well. He shows flexibility, willingness to change with times, has solid leadership skills, and has the shrewdness to develop right strategies as situations dictate.
Tom Smith[]
A former cowboy and horse herder, he is skilled in interacting with horses, perceiving their individual natures, and demonstrating an innate ability to work with and calm them when they are riled. He is a man left behind by changing times, as his old world is being made obsolete by new technology, even as new opportunities are presenting themselves in the horseracing field. He has an intuitive insight into Seabiscuit's true potential the first time he sees the horse, and develops skillful strategies that shape Seabiscuit into the greatest racehorse of his day. He has a simple, philosophical view of life, values individuals and things for what they are.
Johnny "Red" Pollard[]
The son of a schoolteacher, he exhibits great skill riding and racing horses, even though he is considered too tall and heavy to be a jockey. He overcomes the separation from his family, poverty on the road, and personal failure through sheer drive and determination. He is a fighter, literally and figuratively. He will do anything to survive, including taking up boxing, where he is continually plundered and beaten. He is hot tempered and reactive, which costs him; and yet is intelligent and well-read, and an admirer of the world's great literature.
Seabiscuit[]
A small, muscular horse, bred from a line of great racehorses, but dismissed as unsuited for racing. He has an indomitable will and spirit that enables him to exceed beyond all expectations. He has an intense competitive spirit, derived from earlier mistreatment, which reflects in a capacity for remarkable speed under pressure.
George Woolf[]
The skilled jockey compatriot of Red, who fulfills his and the group’s destiny by riding Seabiscuit to his greatest victory against the mighty eastern horse War Admiral. A modest and gracious individual who gives credit to others, even Red after Seabiscuit’s victory over War Admiral.
Plot Details[]
Early Days for Charles, Tom, and Red[]
It was the time of the arrival of cars, the dawn of the automotive age, and the era of mass production. As a result, says the narrator, it was both the beginning and the end of imagination.
Charles Howard is working at a bicycle factory. Eager to be more than a mere spoke in a wheel, he heads west to San Francisco and opens up his own bicycle shop. Unfortunately, demand for bicycles is already being supplanted by the spread of the automobile and his business is floundering. One day a Stanley Steamer car overheats in front of his store, and the owner asks Charles (who is sitting there waiting for customers) to fix it. Charles has never worked on the innards of a car before, but still, in entrepreneurial fashion, and in the can-do spirit of the times, he agrees to take on the project. After struggling with the complicated parts, he is amazed by the beauty of the design of the systems, and is able to fix it beyond the expectations of the customer. As a result of this experience, Charles goes into the business of selling cars.
Charles prospers and becomes a leading promoter of the car industry in his region. He believes deeply in the future of the automobile. With his newfound wealth, he purchases a huge range in Northern California that includes stables. However, he replaces the horses in the stables with the racecars he has come to adore.
The stock market suddenly crashes and the American financial system is shaken to its core, sending millions of people to the unemployment lines. It is the beginning of the Great Depression.
Meanwhile, Tom Smith rides the range of the American West as a cowboy, whose responsibility it is to herd horses on the vast, beautiful landscape. However, he is also coming to grips with the fact the world is changing -- in particular the emergence of new technologies and forces, including the automobile that are making his current line of work obsolete. With the hard times of the Great Depression forcing him out of employment, Tom takes to riding the rails. And yet he does not abandon his skill completely, since he has a special gift with horses – in particular, an innate ability to relate to them and calm them down when they are distressed.
Red Pollard and his family live in Alberta, Canada. Red at age 6 is riding horses, and shows a great penchant and skill in that area. Red’s father is a teacher, and raises his children with high morals, which they learn through the many works of literature he shares with them. It is a close-knit family. Similar to Charles, Red’s father often expresses a deep belief in the infinite possibilities in the country and in life in general, which he coveys to his children through the great works of literature.
In an environment of increasing poverty, Red’s family is forced into a state of desperation. Like others, they take to the road in their cars to live in work camps. With a dire need for funds, they allow their son to work as a horseracing jockey -- something they would normally have been loathed to do. They are then forced to send him away so that he can go on the road and participate in more lucrative racing events. The separation is emotionally wrenching for both Red and his parents.
At first, the managers at the track he races at think that Red is too tall and weighs too much to be a successful jockey -- despite his exceptional skills. In the months that follow, Red rides in hard fought races, where the riders engage in whipping and other intimidating tactics to gain the upper hand. In fact, in his first major race, Red gets so embroiled in fighting with another jockey, that at the finish another horse pulls ahead at the last moment to win. This is followed by a dressing down of Red by his boss in the locker room. Clearly, Red’s hot temper has led to this racing failure, not to mention drawing the wrath of his superior.
Hard Times and New Opportunities[]
With the Great Depression spreading throughout society, and with people now far less able to afford cars, Charles business begins to deteriorate. The atmosphere in the entire country is now gloomy and depressing. It is an indicator of what happens next in the story. One day Charles goes off to San Francisco on business, leaving his son behind. The very young boy packs a lunch, and takes off in a pickup truck available on the estate grounds. On a high-mountain road, the boy crashes the vehicle. Charles is informed and rushes home; but it is of no avail, as the boy dies. Charles is utterly devastated. In response to these events, he locks the stable that held racecars – indicating he has had enough with the motorized vehicle. He goes through a period of deep depression and introspection. Soon thereafter, in the wake of the tragedy, Charles’ wife leaves him.
Meanwhile, in a parallel situation, Tom, without work and impoverished, is forced to ride the rails as a hobo in order to survive. As for Red, he has now taken to the sport of boxing in order to make ends meet, and suffers several humiliating and violent defeats. Meanwhile, he continues to read the books his father has passed on to him, culling meaning and strength from them, as he continues his difficult existence.
After his grieving subsides somewhat, Charles heads down to a racetrack in Mexico, along the border with the US, where various vices are more tolerated than in the States. He very slowly begins to come out of his shell. It turns out that Red also happens to be there working as a regular jockey at the track. Like Charles, he too is still haunted by the past -- in his case, his failures as a jockey and a boxer.
One day at that track, a horse with a broken leg is about to be put down after a race. However, a man comes forward and asks that the animal be spared. As a result, the horse is not shot, and this individual goes over and calms the very agitated animal. The man is Tom, the former horse herder.
Charles meets Marcela at the Mexican track. She persuades Charles to ride on a horse again, and they go off riding in the countryside. They continue to see one another and develop a romantic relationship. As a result of these events, Charles begins to open up and come out of his depression. In fact, soon thereafter, Marcela and Charles marry. Now feeling much better and far more energized, Charles looks into getting into the horse racing business, and begins to look into purchasing several mounts. One day, as he walks around the stables, he sees a man standing in the high grass tending a lame horse. It is Tom, who is stroking the horse that he earlier saved. This situation intrigues Charles, and that night he goes out into the woods, and finds Tom at his campfire. Charles asks Tom if the horse that he was tending to will ever race again. Tom says no, but he adds that “every horse is good for something: that you don’t throw away a whole life just because he’s banged up a little.” Considering what he has been through, this statement resonates with Charles. He is also taken in by Tom’s directness, honesty, and soft spirit.
It is three months later, and the scene shifts to the famous racetrack in Saratoga, New York. Tom is commenting to Charles about the horse he is watching. He says that in racing “it is not just the speed, but the heart." He tells Charles that you want a horse that is not afraid to compete; who wants to fight and win. He knows this as a fact from years of experience working with and interacting with horses. Such words of wisdom again resonate strongly with Charles.
It turns out that Red is working tending horses at the stables at the track, when Tom comes by and sees him for the first time.
Seabiscuit[]
Seabiscuit was a small horse, had a small limp in his gait, and tended to wheeze. When he was young, Seabiscuit was gentle, slept a lot, and ate even more. He was considered obstinate and incorrigible by his owners. As a result, they dismissed him as a serious racehorse, turning him instead into a training horse that other horses could run against in practice, where he was trained to lose in head-to-head scrimmages. The horse became recalcitrant and bitter. When they finally did put him into races, he did what they trained him to do: he lost. And yet he had spirit and intensity.
One day Tom sees Seabiscuit, and immediately they make a deep connection. He sees beyond his limitations of size and gait. He senses something very special in the horse; something he can exploit and bring to success. Tom later tells Charles that Seabiscuit indeed has spirit, and could eventually be calmed down and trained to be a legitimate racehorse. Tom then walks off and comes upon a scene where one man is taking on a group of others in a fight. It is Red. Tom then looks back at the feisty, rebellious, uncontrollable Seabiscuit and senses a connection between the horse and Red.
Red later meets up with Seabiscuit, and then after interacting with the horse says, "I know what you are all about" -- as they are kindred spirits, i.e. they are very much alike. They both have lived rough and tumbled lives. Thereafter, Red begins to work with Seabiscuit and tame him. At one point somewhat later, when Seabiscuit is saddled by Red and is about to race him, Tom introduces Red to Charles and his wife.
Tom perceives the potential in Seabiscuit, if only the horse can learn to overcome what the previous owners had turned him into -- an obstinate, rebellious horse. Tom says that Seabiscuit would be fine "if only he could learn to become a horse again."
Red then rides Seabiscuit, letting him run free on the track; and then in the countryside -- in essence, allowing Seabiscuit to become that horse again. Seabiscuit responds in full to Red’s attention as well as the opportunity to run outside the track with a great ride. Red then exclaims that Seabiscuit is an amazing horse.
Tom and Red then go to visit Charles at his beautiful estate. At the dinner table, Charles notices that Red refuses to eat. He does so because he is self-conscious of being too heavy as a jockey. However, Charles in a moment of understanding and compassion says that he would rather have Red strong than thin. (Like the horse, Red is unconventional in built (for a jockey) -- yet Seabiscuit is accepted by Red for what he is.) This kindness, tolerance, and acceptance is a central theme in the story, serving as one of the major factors that contribute to the great accomplishment in the tale.
Just as Charles cares for the well-being of Red, the society – mainly through emerging compassionate government policies of the New Deal -- cares for the people who were suffering during the Depression. (The parallel drawn between the predicament of the individuals in the story and that of the society as a whole is clearly seen.) Also, Charles gives Red the affection that he was unable to give his own son, who had died. As a result of this newfound fulfillment through Red as surrogate son, Charles opens up again as a person, and in fact opens the stables of cars that he had locked down after his son's death, now replacing the vehicles with horses. (The son had died after all in a car accident.) It is an indication that Charles is finally shedding his sorrows, and returning to life to full.
Tom struggles to calm Seabiscuit down. He devises several clever approaches, and finally hits on the right one by bringing in a mare into Seabiscuit’s stable, which has just the right affect on the skittish racehorse. With a calmed Seabiscuit, Tom instructs Red how to run future races with the horse. He tells Red to hold back Seabiscuit for most of the contest, and then turn him lose at the end, where he can then burst to the front and win. Unfortunately, when Red practice-runs Seabiscuit, the horse at first does not respond -- running rather lethargically, disappointing Tom. However, when Seabiscuit sees another horse ahead of him, his competitive spirit kicks in and he suddenly sprints ahead. Now understanding Seabiscuit’s character, Tom and Red are able to get the best out of the horse to the point where soon after he breaks the Tanforan racetrack speed record in a practice run. Tom, Marcela, and Charles are stunned by this turn of events. Tom then chimes in that Seabiscuit just hankered for some competition!
The day then arrives for Seabiscuit's first official race at Tanforan. Tom again gives Red instructions on how to run the race -- i.e. to stay with the pack until near the end, and then burst forward. Unfortunately, during the race, Red gets embroiled with another jockey who is using questionable physical tactics, causing Red to lose his temper. With Red distracted, he loses focus and forgets Tom's instructions. The result is an all too familiar one that has haunted Red in the past -- as other horses forge ahead in the end, causing Seabiscuit to lose a race he might have easily won. After the loss, there is a heated argument in the locker room where Red tries to defend himself to Tom – i.e., that he was physically abused by the other jockey and had to strike back. He is exceedingly angry. Tom responds that it caused him to lose focus and forget the strategy they established earlier for the race. Charles, overhearing the heated discussion pauses, contemplates the situation for a moment, and then calmly asks Red what he is so mad about (translation: mad about in life). Red is thunderstruck by Charles’ words.
The next day Red -- now fully taken by the preceding day’s painful events -- comes into Charles’ office and asks him for some money so that he can tend to his dental needs and other mounting bills. Charles in a kind and generous gesture -- understanding Red’s financial plight and sympathetic to him now as a substitute son -- gives Red twice the money he asked for. Now feeling considerably better psychologically -- i.e. with money to take care of his bills and a sympathetic mentor -- Red runs another race with Seabiscuit, again using Tom's strategy. This time however the horse pulls away from the field at the end, and sprints to a glorious victory. The crowd and the owners are truly stunned by this turn of events. Charles then tells the gathered press that the key to this success is that Seabiscuit has heart: that a little horse like him can do great things. He tells the group that Seabiscuit is a little horse that does not know he is little! He then adds in a reference to the problems of society that this win isn’t the finish line; that the future is the finish line, and Seabiscuit is just the horse to get us there.
“Though he be but little, he be fierce,” says Red about Seabiscuit to the admiring fans and press before the next race, paraphrasing the Shakespeare he is familiar with. Red then proceeds to win six consecutive races aboard Seabiscuit. As a result, the horse garners regional and then national attention. When asked at a press conference, Charles says that the secret to Seabiscuit’s success is being given a second chance; and that many people in America who have suffered during the Great Depression and are looking to improve their lot in life know exactly what he is talking about.
The Great Race[]
Though success has come their way, Tom is troubled by Seabiscuit’s notoriety, claiming he is not getting enough time training with him. (E.g., the horse is signing autographs for fans with his horseshoed hoof, amongst other things!) He also says that Seabiscuit is not yet a great horse like War Admiral. They then watch the extraordinary exploits of War Admiral on film, as the narrator mentions that he is a perfect horse. Charles, in response to this challenge, suggests that a race be arranged between the two horses. In response to Charles’ offer, Riddle, the eastern owner of War Admiral, says it is absurd to have the race because of his horse’s obvious superiority in terms of speed, size, breeding, and the fact that he has won every prestigious race in the country. Riddle then goes a step further and mocks the entire western US horseracing scene, suggesting that it is primitive compared to what exists in the east. To this rejection, Red reacts in anger, but Charles responds calmly and calculatingly, saying that they just have to flush out Riddle into accepting the race. He then comes up with the idea that the winner of the match should receive $100,000 dollars. Charles then arranges with the local track owner to put up the $100,000 purse for the winner of the potential head-to-match between the two famous horses. Privately, Charles says that people like Riddle are stuck in the past, but his group, including the people out West are with the future. The track owner agrees to the offer, indicating that Charles has a great power of persuasion, which he once used in becoming a very successful car salesman.
When Riddle turns him down yet again, Seabiscuit resumes racing locally in California. (Rather than give up, they pursue their own agenda, and get additional victories under Seabiscuit’s belt.) In one particular important race, Tom once again provides Red with a strategy for victory. In the race, Seabiscuit comes far from behind to take the lead, but is then caught and passed at the last minute, unbeknownst to the jockey Red. After the race, there is an argument in the locker room where Red admits that he cannot see well on the side he was passed on. As a result, Tom goes into a rage that Red had never told him that before. However, Charles, in yet another calm and munificent gesture, lets Tom know that it is fine. He tells them that you don’t throw a life away because you are banged up a bit -- a point that resonates with all three of the men, considering the hardships they previously endured.
After Seabiscuit loses this important race, Riddle says there is no longer a need for the confrontation between the two horses. Charles counters again with yet another strategy -- that he will register Seabiscuit in any race wherever War Admiral is on the card -- even if the latter scratches. Charles also notifies the people on a rail tour of the nation that he will keep on fighting until he gets the race against War Admiral. This again resonates with the people who are likewise inspired to keep fighting to get ahead in their lives despite the Great Depression. As a result, he stirs up the nation, who themselves begin to demand the race. It is a brilliant strategy that gets the attention of Riddle, who now agrees to meet with Charles. There Riddle accepts a head-to-head race, albeit with a number of conditions that are highly favorable to his side, including running the race at his home track and not using a starting gate. Charles does not barter on this, instead calmly agrees to all conditions.
One day the group goes to spy on War Admirals at the luxurious private estate where his training grounds are located. They see that he is a formidable opponent. From what he sees, Tom comes up with a new, custom set of strategies for running against the great horse. One strategy involves how to get Seabiscuit off to a quick start without a starting gate -- one of Riddle’s conditions for the race. And so they purchase a bell so they can teach Seabiscuit how to quickly break without a gate. At night without a starting gate, they teach Seabiscuit how to break at the sound of the bell. They are now all gearing up emotionally and tactically for the great race.
Out of nowhere, an old acquaintance of Red suddenly arrives on the scene and asks him to practice-run his horse so it can be observed and therefore sold. When Red does so, a tractor suddenly backfires startling the horse in mid-run, hurtling the animal and the jockey to the ground of the racetrack. The horse proceeds to drag Red through the stables, and he is seriously injured. He is rushed to the hospital where they discover that he has a dozen fractures in his leg, and that though he would walk again, he would never be able to race. Charles then says that they will now have to scratch the contest with War Admiral. However, Red responds that Woolf can run the race in his place. It is agreed. Then Red gives the substitute jockey instructions on how to run the race, telling Woolf how to hold back at the end, and let War Admiral catch him at the backstretch so Seabiscuit can look him in the eye, which will motivate him to surge ahead.
The day of the contest between the two famous horses at the Pimlico track arrives. The bell rings to start the race, which has no starting gate. Seabiscuit at first takes the lead, but then backs off just as Red and Tom’s strategy dictated. As a result, War Admiral now catches up. They then race head-to-head for a long distance. Then at one point, Woolf turns to the other jockey and says “so long.” Seabiscuit then sprints ahead, and wins by a number of lengths in an overwhelming victory for the underdog little horse. Needless to say, the principals are overwhelmed by the result -- as is the crowd, the media, and the nation. The great underdog has emerged victoriously!
In the winner’s circle, Woolf remarks, in a very gracious gesture over the public address system, that he only wished Red Pollard were standing there in the winner’s circle instead of him. Red watches a later celebration from a distance, somewhat wary of what has just transpired. Red then heads home to Charles’ ranch to heal his leg injuries, while Woolf continues to ride Seabiscuit to victory in other regular field races.
Healing Together[]
Sometime after his victory, Seabiscuit hurts his leg in a race. Interestingly, Red has an intuition of its occurrence. The doctor indicates that Seabiscuit has ruptured a ligament in his leg, and that he will never race again. (Recall that Red was told the same after he broke his leg in many pieces after a fall.) The doctor then offers to put Seabiscuit down if his crew agrees to it. This is obviously not acceptable, and instead the horse is shipped back to Charles’ estate to recuperate from his wounds. Now both Red and Seabiscuit are having to convalesce together.
In the weeks and months that follow, Red works with Seabiscuit to improve the horse’s condition. Red also works to recover from his own serious leg wounds. In one scene, Red walks Seabiscuit through the countryside, as he limps along with a cane. Together they rest in the field in a touching scene, indicating their close bond. One day during his rehabilitation to walk again, Seabiscuit sprints a bit after being startled by a breaking branch in the wind. Perceiving his improved health, Red then puts a saddle on him. Red himself wears a specially made splint to hold his leg in place to protect himself as he slowly rides Seabiscuit. And so begins the next stage of his – or rather, their rehabilitation. Over time, Seabiscuit gets better, and at one point is able to run around the track at nearly full speed. His condition improves rapidly. Red is longer worried about his weight (now that he is no longer a professional racer), and eats heartily.
Perceiving his recent history, Red sometime later exclaims -- once again paraphrasing the Bard -- “and in this, the most unkindest cut of all,” -- referring to the fact that wasn’t able to ride Seabiscuit to his greatest success against War Admiral, as well as several victories thereafter. Now however he wants to change things and run Seabiscuit in the upcoming Santa Ana event -- one that he lost earlier due to his careless mistake of losing focus when physically abused by another rider. With the doctor giving his permission, Charles considers whether to allow Red to run the race. There is the danger that his leg could be re-shattered, and that if he fell off the horse, he could literally lose his life. Thinking back to the memory of his son’s death, as well as the threat raised by Red’s current condition, Charles makes the wrenchingly difficult decision to go ahead and allow Red to participate in the race.
The Comeback[]
The day of the race at Santa Anita Tom gives Red instructions as usual, and Red affirms that he will not make the same mistake he made in the past when he lost focus and lost at Santa Anita.
It is a difficult situation for Charles to watch because of the danger to Red. Charles has after all already lost his only son in an accident. At the gate, Woolf smilingly and ironically greets him on another horse – one that has little chance of winning. The race then begins. Red, however, is in excruciating pain. As a result, Seabiscuit slows down, and then falls far behind. From far, far back in the pack, Red has Seabiscuit look Woolf’s horse in the eye, which stimulates him to surge ahead. (It is interesting that this other jockey of good will, Woolf, serves a great purpose here.) Then urged on by Red, Seabiscuit from out of nowhere surges from behind, takes the lead, and sprints to the finish to win the race in a remarkable turnaround.
At the end of the story, Red comments that they had fixed a once-broken horse. On further thought, he adds that the horse had actually fixed them. His finally concludes that they had fixed one another.
Major Themes[]
Like any important work of literature or film, a number of major underlying themes emerge from the story. Even the less obvious ones are equally compelling.
Inner Power to Overcome Adversity that Brings Success[]
The most compelling theme in the story is the ability of individuals to overcome great hardship and adversity, and turn it into great success and accomplishment. This resiliency of the human spirit expresses in a number of ways:
Charles is able to overcome the death of a child, as well as a divorce from his wife. He regroups and moves his life forward (from car sales to horseracing), culminating in great victories for him and his prized horse Seabiscuit.
Tom is able to overcome the hard times of The Great Depression, including the fading need for his horse-herding skills. He is able to move his life in a new direction, which brings great success through Seabiscuit.
Red survives the separation of his family, poverty, hunger, and bitter defeat as a jockey and boxer, only to emerge victorious a number of times riding Seabiscuit.
These circumstances indicate that anyone can overcome adversity -- no matter how difficult the conditions -- so long as one has grit, determination, strength, and positive attitude. In that sense, this true story of Seabiscuit and his mentors can serve as an inspiration for ages.
Power of Tolerance, Acceptance, Forgiveness[]
Another major theme of Seabiscuit is the power of tolerance, acceptance, and forgiveness. In particular, we see how Charles is able to accept the flawed behaviors of others. E.g., when Red foolishly gets entangled in a fight with a jockey, and thereby loses a critical race while riding Seabiscuit, Charles does not scold him or lay blame, but is understanding, accepting the situation for what it is, and then moves on. Charles’ calm, compassionate response enables Red to confront his own demons without being lectured.
In another incident, Red loses another race because he cannot hear out of one ear, and yet once again Charles does not berate him, but accepts the situation as is.
Yet, a third instance occurs when Tom and Red go to visit Charles at his beautiful estate. When Charles notices that Red refuses to eat because he is self-conscious of becoming too heavy as a jockey, Charles, in another moment of understanding and compassion, comforts him and encourages him to eat. He says that he would rather have Red strong than thin. Charles has that rare capacity to look beyond the short-term deficiency or problem and take the longer-term view, perceiving the greater potentials of the future.
We also see similar characteristics demonstrated by Tom. Rather than look down on a wheezing horse with a strange gait, Tom accepts Seabiscuit for what he is. When he looks him in the eye, he knows that the horse is something special, despite his outer physical deficiencies as a racehorse and his belligerent behavior. Like Charles, who accepted a large, heavier than normal jockey in Red, Tom saw beyond the surface limitations in Seabiscuit, perceiving his great potential, which was in fact realized through Seabiscuit’s enormous successes. In the end, these instances of tolerance, acceptance, forgiveness, and patience establish the tone in the story; the distinct human qualities that enable the powerful positive outcomes that follow.
Parallel of the Characters’ Struggle and Success, and that of Society[]
The third theme in Seabiscuit is the parallel drawn between the obstacles and adversities of the characters in the story and that of the general population during the Great Depression. This expresses in several ways.
Arising out of Difficulty -- Just as Tom and Red have been down and out on their luck, so too are the unemployed masses of society. Just as the principals in the story are able to rise out of their great difficulties and bring about great success, the society as a whole is able do the same -- for after all, the American public will soon overcome the Great Depression and become the most prosperous society in history. For the main characters of Seabiscuit, it is both physical and psychological struggle that they rise above -- just as it was for the American public, who overcame their own collective psychological malaise, created by the harsh economic conditions.
Given a Second Chance -- Similarly, we also see the parallel drawn between the characters in the story and the public in showing how “damaged goods” can be given another chance and thereby rise out of their adversity. Rather than being perceived as failures, both the characters in the story and the society as a whole are given new opportunities to thrive in the face of past failure. E.g., rather than reject Seabiscuit as a too-small horse with a bad attitude, he is given a second chance, is nurtured back to his true state, setting the stage for his vast success. Likewise, rather than condemn Red’s physical size as a jockey, or his failures of the past, he is given another opportunity to prove his worth. Parallel to this, Americans are given a second chance to rise out of their misery, which they are able to do in the years that follow.
The Heart and Will to Prevail -- Finally, we see a linkage in the story between the heart of the horse (and Red) to the heart and will of the people to rise out of their adversity and prevail. Like Seabiscuit, who had a great heart and spirit, and rose to the pinnacle of success, so too the people did not give up, did everything to survive, and began their steady climb out of poverty, culminating in unimagined prosperity. When we have the heart and will to move ahead, we can shed adverse conditions, and move mountains.
All for One and One for All[]
One of the more interesting themes of Seabiscuit is how individuals are able to work together to achieve their common goal, which is success for Seabiscuit, and, in particular, a win in the head-to-head competition with War Admiral. Though Charles, Tom, and Red each have different job roles -- as owner, coach/trainer, and jockey -- they are able to collaborate and work in harmony to achieve their common aim.
For example, when Riddle requires that the race between Seabiscuit and War Admiral begin without a gate, the main characters collaborate to with a clever solution. They work out a practical strategy in which they purchase a bell, and then work with Seabiscuit and teach him how to react to it. In the situation, Charles has relayed the demands of Riddle to Tom, who secures a bell, and works with Red and Seabiscuit to implement the strategy. The entire chain of command is working in harmony to achieve the common goal, which they accomplish in spades in the end.
They also help one another psychologically, helping fill the voids in one another’s lives, which also supports the great accomplishment that followed. Charles serves as a father figure to Red after he had been separated from his family. Likewise, Red fills a void for Charles who has lost a son in a tragic accident. Similarly, Tom and Charles help Seabiscuit overcome the poor training and abuse he suffered early on in his career.
Ultimately, they are all working for Seabiscuit’s success, who achieve beyond their wildest expectations. Because they help one another materially and psychologically, they accomplish their common goal. They each work for one another, as well as for a collective purpose. It generates a vast power that enables the great results that follow in the story.
Land of Infinite Possibilities[]
There is one less obvious, though powerful theme that permeates the story: it is the atmosphere of “infinite possibilities” that prevails in the minds of the people of 20th century America. From the very beginning, the narrator tells us of the infinite potential of America, and in particular the open-ended possibilities that exist in the American West. Not only is there a sense of freedom to do as one chooses, but that environment encourages individuality, where people can think for themselves, unencumbered by the old ways. There is thus a canvas, a landscape of infinite possibility for attaining success and fulfillment. It is in this atmosphere that Seabiscuit’s rags to riches story takes place.
Charles at the outset pursues his dream, not wanting to be a spoke in a wheel, or a cog in a machine. As a result, he starts his own business selling bicycles, and then sells cars. In an environment of infinite possibility, he makes his own way, makes his own choices, expresses his individuality to become what he wishes to become. He is unfettered by the views of society, but forges ahead on his own. In a backdrop of infinite potentials, he is able to find fulfillment in life.
In fact, this is such an open-ended, inviting environment for accomplishment, that even when times are hard, when people are down and out on their luck due to the Great Depression; even when there are intense personal problems, the American dream remains alive in the heart of the people. I.e. a person can still find success and happiness in that infinite-like environment. All that is required is for a person to look around and see what is possible, and then choose in the direction that expresses his or her individuality. For Charles, Tom, Red, and Seabiscuit that is precisely what takes place -- despite the national hardship and their own personal problems in this land of infinite possibilities.
Humanity vs. Technology[]
At the outset, the narrator indicates that mass production, including the car, is the start and end of imagination. I.e. we can imagine and invent these wonderful new technologies, yet we become cogs in the brutal machinery of mass production. This serves as a background for Charles’ realization that he doesn’t have to be a spoke in a wheel and work for someone where his ideas are ignored, but can venture out on his own and express his individuality and humanity. There is thus this tension in the story between our humanity and the brutal quality of technology.
In fact, the horse itself becomes the symbol of that humanity through the compassion and concern of others, whereas the automobile is seen at once as both a wonder and the scourge of technology. Though Charles prospers selling cars, his son is killed while driving one of these vehicles. Though an injured horse can be viewed as something broken down and useless, through his humanity Tom is able to perceive Seabiscuit's utility and purpose. This parallels what is occurring in society, where technology has failed them during the Great Depression, but where human values of concern and compassion are demonstrated and aid to lifting the people out of their misery.
The Leading vs. the Trailing Edge[]
There is one theme, though subtle, that expresses in the story. It is how the fresh, innovative, and dynamic forces of the leading edge are able to prevail over the resistant, anachronistic forces of the trailing edge.
Though Charles seizes the opportunity to take Seabiscuit to the next level of success, Riddle attempts to thwart him at every step. Charles represents the fresh, positive energies emerging in society, whereas Riddle represents the old, worn, entrenched interests -- the haughty, narrow-minded power that is reluctant to give up the reigns. And yet, due to the main characters’ great determination and effort, their clever strategies, and, later on, a supportive nation, they are able to overcome Riddle’s trailing edge mentality, and bring about great success. With Seabiscuit’s victory over War Admiral, Riddle is shown for what he is: a backwards thinking, narrow-minded, entrenched individual, who is out of step with the forces of progress. In fact, his attempts to foil and resist Charles’ proposals prove futile in the end, as a tidal wave of positive energy and circumstance work against him.
Human Accomplishment[]
We admire people who have had great success, though we are usually less aware of what it was that enabled it to happen – i.e. the process they followed that propelled them to the heights. And yet the film Seabiscuit reveals many of these keys.
Analysis over the years has shown that the keys to success in any endeavor include the level of one’s intention, will, energy, strength, organization, and effort. In Seabiscuit, all of these are prominent. In addition, there are other important factors at work like the power of positive attitudes, the effect of a supportive atmosphere, and the expression of personal values of tolerance, compassion, and forgiveness. Together these factors create a powerful environment that contributed not only to the success of a once-demeaned horse Seabiscuit , but great accomplishment for the three individuals who fostered it.
Envisioning the Future []
Life is an open field. There are a myriad of choices before us. Those who are most successful in life are those who perceive and then seize the opportunities that are there before them. In Seabiscuit, the characters, particularly Charles, recognizes opportunities, seizes them, and accomplishes them in full. For example, in the beginning of the story Charles realizes that he does not have to be “a spoke in a wheel” while working at the bicycle shop. He perceives that there can be a different way, in which he has control over his own destiny. He heads out west and sets up a shop of his own. That in turn brings an overheated car in front of his shop, which enables him to recognize and prosper in yet another opportunity, the newly emerging automobile industry.
Catching the Wave -- It should be pointed out that Charles did not just perceive any opportunity, but one that reflected an important emerging wave in society. With the discovery of the combustible engine, the paving of roads throughout the country, and the desire amongst the public to move around quickly, easily and conveniently, the automobile was the emerging technology of the time. Charles perceived that emerging wave of opportunity, seized on it, and was taken to the top of his field.
Charles perceived opportunities related to his career in horseracing as well. First, he saw the potential for success in the horseracing field, and entered it. Then he saw the potential in Tom because of the values of honesty and sincerity he expressed; in Seabiscuit, despite his outer limitations; and in Red, despite his many failures to that point. Charles was able to look beyond the present limitations and envision future success in each instance. He proved to be correct on all counts.
Charles not only had the ability to perceive possibilities in ordinary, i.e. relatively positive circumstances, but also in negative ones as well. When he hears from Tom that Seabiscuit is not a great horse yet like War Admiral, rather than be discouraged by the fact, he turns it positive by envisioning a race between the two horses. In fact, later on when Riddle tries to thwart him from achieving that goal, Charles comes up with a series of innovative and successful strategies to lure him out.
Power of Intention[]
Perceiving an opportunity and then envisioning its accomplishment is one thing, but to insure that it actually comes about, something more is needed: we must garner the sanction of our emotions and will. Without an intense desire for our vision to become real, the goal imagined will tend to remain just that – a thought. Desiring and wanting a thing releases the necessary energy that will that compels us to see it through to completion. The envisioning of a goal to be achieved and the drive to accomplish it is captured by the term “intention.” Those with it succeed; those without it remain as they are or fall back. In Seabiscuit, the power of intention is present throughout the story, as great accomplishments issue in its wake.
First, there was the heart and passion of the Seabiscuit himself, who has a driving urge to beat the competition. He seems to move to the next gear when he is faced with a competitor. When he was younger, he was trained to lose against other horses. Now, released of those bonds, he is determined to beat them. Seabiscuit thus has a powerful drive and intention to win when he races. This comes out in full in his head-to-head race with War Admiral, resulting in a smashing victory.
There is also the indomitable will of each of the human characters in the story. In particular, each person had his own reason for improving his lot in life. Charles wanted to succeed in the wake of the tragedy of his son’s death, and the ensuing divorce from his wife. Tom had the drive and will to improve his condition since he had been driven out of work by the Great Depression and the obsolescence of his old job as horse herder. Likewise, Red has an indomitable will to rise in his profession as a jockey after years of failure, anguish, and poverty. Each had their unique need to move ahead, creating the drive and will for success, which they achieved in the course of the story.
Later on, their need for success in order to overcome past difficulties evolved into something more positive and present: the deep aspiration for Seabiscuit’s success. This was not merely a goal they perceived in their minds, but something they desperately wanted to achieve. I.e. it was a deep-seated urge that was there ever-present in their emotions. Later on, that passion is directed towards something even more specific: winning the great race against War Admiral. In both cases, they accomplished what they intended through driving will, deep commitment, and right strategies; and in the end succeeded beyond their wildest dreams.
Right Strategies[]
Even the best of intentions will not bring success unless we devise specific ways for it to come about. A person may envision and really want to produce a bestselling book, but he needs to come up with the right approach for it to happen. For example, he needs to identify who his target audience is; write in a way that is appealing to his readers; engage an agent who will find him a publisher, and so forth. In essence, he has to organize his intention into a plan through practical strategies. In Seabiscuit, the three principal characters are able to devise the right strategies at the right time to bring about their extraordinary successes.
During the race with War Admiral, Charles comes up with a series of strategies to flush out Riddle. First, Charles suggest a head-to-head race between the two horses; which he then follows up with the strategy of a $100,000 purse to the winner, followed by putting Seabiscuit on the card wherever War Admiral is going to race. This culminates in rallying the country to his side through a train tour. Finally, Riddle relents and agrees to the match. Without specific strategies, a race against War Admiral would have remained a mere idea in Charles’ mind. By implementing a series of clever strategies, it became a living reality.
In a similar vein, Tom developed strategies for how Red should run races with Seabiscuit – whether involving tactics to win individual field races, or to win the single, head-to-head race with War Admiral. In the latter case, Tom tells Red to surge ahead at the outset of the race, ease off, have Seabiscuit look at War Admiral in the eye, and then burst ahead. This is a perfectly crafted strategy that leads to Seabiscuit’s victory, and their own personal success.
One can even devise strategies to meet the smallest and most detailed aspects of a work. This occurs when the principals devise a method for Seabiscuit to get off to a quick start against War Admiral, since Riddle has ruled out the use of a starting gate. They come up with the idea of using a bell to teach the horse how to get off to a fast start -- a strategy that will prove enormously effective. Similarly, we see the small strategy devised by Tom to calm down Seabiscuit by bringing a mare into his stable. The companion horse has the effect of relaxing Seabiscuit and changing his demeanor from that point forward, a strategy that will proves to be critical for the horse’s success thereafter.
When intentions are formulated into specific, targeted strategies, and are then implemented in full, it is bound to attract considerable success. It is a lesson that we can all learn from and apply in our daily lives to achieve our fondest goals and dreams.
Adjust to the Realities[]
While right strategies are critical to success in any endeavor, life’s circumstances constantly change. Those who are flexible and resourceful will be able to adjust their strategies to meet life’s conditions. (It will surely be a test of whether our intentions are true and long lasting.) In several instances, the characters were able to shift gears when conditions changed. Charles demonstrated a masterful ability to adjust strategies when he does not achieve the intended goal. E.g., when he first makes the offer to Riddle for Seabiscuit to race War Admiral, he is turned down. As a result, he comes up with the idea of sweetening the pot by having a $100,000 winner’s purse. Unfortunately, Riddle is still unconvinced, which compels Charles to change tactic again, forcing him to try and race Seabiscuit wherever War Admiral is on the card. Again, Riddle is unmoved by this somewhat intimidating approach. Finally, after a string of successes that bring notoriety to Seabiscuit, Charles decides to rally the public to his side by going on a rail tour of the country. This brilliant strategy finally forces Riddle’s hand, and he agrees to the race. At each point, Charles was able to shift his tact to meet the current conditions of life, and eventually achieve his goal. The ability to not back down, and change strategies on the fly as conditions change is one of the great secrets of accomplishment in life.
Determination and Focus[]
To accomplish a goal, one must remain focused on our objective. It is easy be excited by something at first, only to lose that interest and intensity as time passes, or situations unfold, or we get caught up in other matters. In Seabiscuit, the three principals stay very focused throughout on achieving their goal of Seabiscuit’s success. When there is difficulty or failure, they are able to absorb the shock, make the necessary inner adjustment, and move on. It is because they are so dedicated to their goal; because they are so determined to see it come about, that they are unfazed by momentary difficulties. Their subconscious need to overcome their past, and their conscious aspiration to see Seabiscuit succeed, drive them forward despite all obstacles. It is that sort of determination and focus that is necessary to bring any aspiration or goal to fruition.
Positive Attitude[]
To execute a plan such as winning a major race, or even the Race of the Century requires not only driving determination and will, but the right personal attitudes along the way. Executing a plan with optimism, openness, patience, and regard for others, creates the best psychological atmosphere for achievement. Negative attitudes on the other hand, -- such as skepticism, mistrust, dishonesty, hostility, impatience, and greed will tend to do the opposite -- drive off accomplishment, leading to the disappointment and failure. The main characters of Seabiscuit demonstrate a consistent positive attitude throughout which helps them achieve their goals in the end.
Positive attitude expresses in the story through the belief that anything is possible. That can-do attitude is particularly present in Charles, who expresses it from the very beginning. He has the positive conviction that he can set up a bicycle shop of his own, and is quickly able to do so. Likewise, when he perceives that he can be a salesperson and champion of the automobile industry, he quickly accomplishes that as well. In fact, he often expresses that infectious can-do attitude to others, inspiring them to see the power of the emerging automobile, not to mention purchase one of their own.
Charles demonstrates positive attitudes in other ways as well. In particular, when hardships or problems come his way, he is able to accept them as truths of life, and then move on. When Red makes a mistake, Charles does not scold or abuse him, but remains calm and understanding. This is a most noble attitude that borders on the spiritual. This powerful positive attitude of “equality of being” in the face of life circumstance tends to strengthens bonds between people, engender trust, which in turn enables greater accomplishments in life.
When at first Red sees that Seabiscuit is ornery and difficult to handle, he does not abuse him, but is calm and understanding of the horse’s state. The empathy he feels for the horse’s condition, helps bring him around, leading to all the success that follows.
It should also be pointed out that there is also a general can-do attitude that permeates the country, despite the recent difficulties of the Great Depression. There is that undercurrent belief in the nation that anything is possible, which provides the supporting atmosphere for accomplishment. In addition, there is also the positive attitude of the US government, which at the time was led by Franklin Roosevelt. His compassion for the people, his policies to try to uplift them, his positive attitude about the future of the country serve to energize the downtrodden population, lifting their spirits when they were in their darkest hour.
Strength; Overcoming Obstacles/Adversity[]
One may have the right plan, intense desire, and all the skills in the world, but still fail to achieve one’s goal because if one does not have the psychological strength to stand up to life’s circumstances. Perhaps we lack the nerve to deal with a situation, or the ability to stand up to a tough adversary, or the fortitude and will to come forward and do what is right. Whatever the case, when we are weak, life will tend to crush us or otherwise prevent us from achieving our life’s goals. However, when we are psychologically strong -- demonstrating toughness and grit-- we overcome all obstacles and attract success. In Seabiscuit, we see instances where individuals were able to exercise psychological strength in the face of great adversity, enabling them to prevail in the end.
We see this in a most pronounced way when Charles shakes off the devastation of the loss of his son and the divorce from his wife. Rather than ruin his life, he gathers strength, pulls himself together and move forward by going to Mexico. As a result, in short order he meets his future wife, and encounters Tom, Red, and Seabiscuit for the first time, who become the instruments for his greatest accomplishment in his life. By turning away from weakness to strength, he began the process that enabled him to turn his life around.
In yet another instance, we see that when Red is defeated in a race aboard Seabiscuit because he lost focus, Charles is not discouraged, but has the strength of nerves to move forward, which contributes mightily to his and Red’s future success. Likewise, it is in his dealings with Riddle, rather than back down if the face of his rejection and taunts, Charles shows backbone by relentlessly pursuing other strategies that will prove to be successful in the end.
Red also exhibits his own forms of psychological strength along the way. First, he shows an inner toughness by forging ahead on his own after being separated from the family he was so close to. Then later on, despite humiliation and defeat as a jockey and a boxer, he shows the courage and strength to push on. For that persistence, he will meet up with Seabiscuit and have his greatest successes in life. We also see how after shattering his leg in a riding accident and being told that he will never ride again, he summons up the courage and strength to heal himself. He not only rides again after he was told that would never happen, but rides a race at Santa Anita where he drives Seabiscuit from behind to a stunning victory, bringing a sense of redemption to his life.
In each of these cases, we see how summoning up courage, fortitude, and strength when times were tough or challenging allowed that individual to move forward and bring about abundant success thereafter.
Intuitive Capacity[]
Normally when we perceive an opportunity in life, it happens because we exercise our minds and come to a decision based on the possibilities that are before us. It is a relatively rational and logical process involving our mental powers of perception. And yet we also have the power to perceive opportunities, through an inner, intuitive sense, that is less rational and more direct. That intuitive perception of an opportunity can be acted on, bringing us success in life.
In Seabiscuit, we see at least two powerful instances where intuition brings about great accomplishment in the story, both involving Tom. When he sees Seabiscuit for the first time, he senses something powerful in his look; and as a result, a deep bond is established between them; even a sense that somehow they would work together and bring one another benefit. That intuitive experience is the one great moment that links the destiny of the horse to Tom, and then Red and Charles, and to the success that follows. In a second instance, Tom sees Red fighting with several other men. He then looks back at the feisty Seabiscuit who he is attending to, and senses a link between them. He intuitively senses that they are destined to be involved and work together. Once again, Tom’s intuition will serve to change the course of events in the story, and be an instrument for the vast accomplishment that occurs later on.
Inquisitiveness[]
Seeing opportunities can come through the normal, rational thought processes and perceptions of mind, or through an intuitive-like capacity. Opportunities also tend to come to those who are inquisitive -- i.e. to those who have a natural tendency to seek out and explore life’s possibilities. Those who do, tend to come upon fresh, new opportunities that when acted upon can lead to great accomplishment. Recall how while at the track in Mexico, Charles sought get back into the horse racing business. While walking around the stables there one day, he sees Tom in the high grass stroking the horse that he had earlier saved. This situation intrigues Charles, which causes him that night to go out and meet Tom at his campfire. They strike up a conversation that establishes their relationship. Charles’ inquisitiveness enables him to establish a connection with Tom, who himself will connect with Seabiscuit, who will be the instrument of their great success. We also see that inquisitiveness early on when Charles is asked to fix the Stanley Steamer car, when he never worked on a car before. His interest in discovering what makes it work – he says that it is in essence a miniature locomotive – causes him to really appreciate its functionality, which later inspires him to get into the car selling business. It is that curiosity that leads Charles to a new career, success, and vast wealth. [ep]
A Supporting Atmosphere[]
One important influence on our ability to accomplish is the role played by the environment – i.e. the atmosphere and conditions around us. When the conditions of life around us are positive, it supports our ability to achieve. When they are negative, it retards it, or even cancels our efforts. In Seabiscuit, we see these external influences in the story at several levels.
At the level of the nation, we witness a country, the United States that is dynamic -- encouraging individuality and initiative. There is an atmosphere of freedom that allows one to choose as he pleases. This is particularly true in the American west, which is less fettered by class structure and certain moral and ethical strictures of the eastern part of the country. All of these factors together support accomplishment for the individual. E.g., we see how Charles takes advantage of this environment when he starts his own bicycle shop, and later on when he sees the opportunity with the automobile that he seizes. He feels free to move around as he pleases, to become anyone he chooses, to be entrepreneurial and his own man. He senses at every point that he is free to create his own reality, to become anything he chooses in this land of infinite possibility.
And yet it can be argued that Seabiscuit takes place at the time of the Great Depression -- a period of great poverty and unemployment, which would seem to make accomplishment difficult, if not impossible. It is a counter force of limitation, of fear and anxiety that would seem to limit one’s ability to achieve. It did have the effect of putting Tom out of work, and forced Red into desperate measures (i.e. boxing) in order to survive. It even slowed down Charles’ very successful auto business. And yet always lurking in the background is this sense of the possible; that if we make a sincere effort, things will eventually come around, which is in fact what eventually happens for the individuals of this vast nation. In fact, Seabiscuit himself, a small horse, reminds them that anyone can come back in this society of infinite possibilities. That is why the population reacts so positively to his ascent. It is because they know in their bones that rejuvenation and prosperity is just around the corner.
Power of Values[]
Though direction, will, organization, strength and other factors are key to accomplishment in life, there is one power that can have the greatest of all impacts. It is the personal values we subscribe to. A value is a belief or an ideal that energizes us into action, or uplifts any goal we aim to achieve. E.g. if I believe in the value of honesty, it will have a positive effect on how the way I relate to people, thereby increasing my threshold for success. Likewise, if I believe deeply in the value of teamwork and cooperation, then when I attempt to achieve a goal in a social organization like a business, I will create more powerful relationships between people that will dramatically improve my chances for success.
Personal values thus energize anything it comes in contact with -- whether our relationships with others, the goals we aim to achieve, or any other aspect of life. In the film Seabiscuit, we see a number of values expressed that not only indicate the personal values of the principals, but we see how those beliefs bring about positive outcomes in the story. Among the values demonstrated are:
Teamwork – Throughout Seabiscuit’s rise to the top we see values of teamwork, cooperation, and harmony of purpose on display. Not only do the principals have a common purpose – victory for Seabiscuit – but display a willingness and desire to cooperate to make it happen. That value of teamwork energizes their efforts, leading to the great accomplishment that follows.
Individuality – Not only did the society support freedom and individuality, but the characters themselves internalized and therefore deeply cherished these beliefs. Individuality means thinking for one’s self, unfettered by the social imperative; the beliefs of the herd. We see how Charles decides to break away and head west on his own, and thereafter start his own bicycle shop, and thereafter start his automobile sales business.
Respect for the Individual – Expressing one’s own individuality is one thing; respecting others for what they are and believe in is another. We see expression of Tom’s powerful belief that everything and everyone serves a purpose no matter what its status -- which is the value that enables him to accept Seabiscuit despite his limitations. As a result, he is able to nurse him back physically and psychologically, which opens the door to Seabiscuit’s later successes. Likewise, we see how Charles accepts Red for what he is, despite the fact that he is too tall and heavy by jockey standards. When we respect and value others, including their unique qualities, we not only help them blossom, but it tend to breed success all around.
Content over Form – Another way of looking at Tom’s respect for others (including animals) is that he values the content and essence of a thing rather than its mere outer form. Though Seabiscuit has an awkward gait and is small by racing standards, it does not deter Tom from seeing the horse’s potential. He sees and senses a spirit, will, and heart in the animal that one may not readily perceive just by his physical appearance, or even his particular skills. Similarly, though Tom is down and out and lives/camps in a field, it does not deter Charles from seeing him from what he really is and what he really believes in. Likewise, though Red is too big and tall by jockey standards, Charles sees beyond the surface of things to the essence, valuing the drive, will, and grit of Red. This valuing of content and essence of the individual or object over mere outer form and surface is an important value that contributes to success in life.
Tolerance, Acceptance, Forgiveness – Perhaps the most striking and exceptional values expressed in the story is Charles’ acceptance, tolerance, and forgiveness of the defects in others. Rather than scold or complain, he sees through the difficulties other’s encounter, and instead instinctively accepts situations as is. He is at once compassionate and understanding of the flaws and failures of others, while seeing little purpose on harping on the limitations of the present, when there are much greater opportunities in the future. Charles’ munificent and generous nature is what revives and inspires Red, giving him the opportunity to overcome his faults, which will support his future success with Seabiscuit. Charles’ compassion and understanding are expressions of selflessness and self-givingness, two values that can be said to border on the spiritual. These are deep-seated values that inspire, energize, and attract success.
Leadership Skills[]
One of the keys to the outcome in the story is the extraordinary leadership skills demonstrated by Charles. Not only is he able to perceive opportunities, devise right strategies, show compassion and tolerance, but he has the innate ability to stir others into action. We see how early on he becomes an advocate and persuasive leader in the automobile field. Later on, we see how he convinces the track owner to include the $100K purse in the prospective battle. Most of all we see how is able to galvanize the nation behind him in his attempt to convince Riddle of the worthiness of the race with War Admiral. In these instances, he shows a level of persuasiveness, a vital energy and authority that stirs others to move to action. It, along with the other aforementioned qualities are indicators of an exceptional leader.
Negative Behaviors that Block Accomplishment[]
While there are a number of factors that insure high accomplishment in life, there are just as many that can deter and block it. Some are obvious, such as lack of direction, lack of drive and energy, poor organization, missing skills, and flawed execution; while others are not so, such as poor attitudes, lack of psychological strength, and missing or weak personal values. In Seabiscuit, we see several factors that deter accomplishment at points along the way, despite the fact that they succeed in the end.
Anger, Temper -- The most obvious are the negative behaviors expressed. For example, though he has plenty of skill and drive, it is Red’s hot temper gets him into lots of trouble. When he tussled with the jockey and thereby lost focus causing him to lose the first race at Santa Anita, his success was obviously thwarted. This was not a onetime matter however, as he demonstrated these tendencies earlier on as both a jockey and a boxer. We also see how he gets embroiled in fights on the job. One obviously needs to develop a level of self-control to succeed in life; otherwise, we will attract the most negative of circumstance.
Foolish, Impractical Action – It was perhaps the greatest tragedy of the story that Red was unable to run the race against War Admiral. His foolish involvement in running the horse of an old acquaintance just before the duel with War Admiral, led to the serious leg injury that kept him out of the race. His hasty acceding to the demands of another just before the race was an unwise, impractical decision that ruined the chance to participate in the greatest opportunity of his life. Being diverted from the task at hand, and taking foolish, impractical actions will surely not help as one tries to reach the next level of accomplishment in life.
The Character of Life[]
Like the individual, life too can be said to have a character of its own. Life’s character can be described by the way events unfold, as well as by the factors that determine such outcomes. The character is governed by subtle laws and principles, which we can observe if we closely examine the unfoldings of life. In Seabiscuit, we can see a number of these laws in action, which can give us the most profound of insights into the nature of life.
Inner-Outer Correspondence and Life Response[]
One such principle of life is the law of “inner-outer correspondence.” It indicates that the separation we normally perceive between the world outside us and our inner condition is an illusion of our limited consciousness. That, in fact, the inner and the outer are part and parcel of the same contiguous reality. Therefore, if I change the inner me – such as reversing a negative attitude to the positive – the outer world instantly responds in kind with good fortune. This miraculous like phenomenon is known as a “life response,” a term coined by a spiritual teacher in India in the 1970s. It is the instantaneous response of the outer life to changing our consciousness within. Any work of literature or film will reveal at least a dozen such incidents, and Seabiscuit is no exception. Let us then explore several of these, and see how they were instrumental in the outcome of the story.
Examples of Positive Life Response[]
Overcoming Negative Attitudes and Feelings Attract
Life responds with sudden good fortune to any decided change in consciousness on our part. E.g., Life will readily respond to our shifts in attitudes. When we overcome a negative or limited attitude, emotion, or feeling, life tends to quickly work in our favor. Recall the state that Charles was in after his son died in the auto accident and his wife left him. For a long time, he was morose and sad. As a result, life around him essentially remained static and unchanged. Then however, something special occurred. When he made the effort to get out of his psychological malaise by going to Mexico, he met with a string of positive circumstance -- including his first encounters with his wife to be, as well as Tom, Red, and Seabiscuit. In other words, when he overcame his limited attitude and emotion by venturing to Mexico, life cooperated from all quarters. That is the power of shifting our inner condition to the positive.
Accepting the Givens of Life Attracts
Life not only responds to higher attitudes, but when we embrace life and accept the givens that before us. When we shun what life has put before us, we remain as we are, or even fall backwards. However, when we take up the current needs, or work – whether to our liking or not -- good fortune tends to quickly follow. In Seabiscuit, we see early on how Red has failed to live up to his own expectations -- both as jockey and as boxer. However, rather than give up, he shows a willingness to do whatever he has to do to survive. At one point, we see how Red was willing to take on the lowest of jobs – i.e. tending to the needs of a washed up racehorse. As a result, Tom, who was looking for a racehorse for Charles, suddenly appears out of nowhere, and meets with Red. This changes Red’s life forever. In essence, Red’s willingness to accept the current conditions of life by performing the lowest of jobs in order to move out of his current limited condition attracts a powerful positive response in the form of Tom’s appearance, who will become the conduit for his great success aboard Seabiscuit.
Acceptance of Others, Self-Givingness Attracts
It is not only the accepting of the givens of life that attract good fortune, but also embracing the needs and wants of others. In particular, we see that when we accept others for what they are and are selfless and self-giving in that regard, it will not only bring us inner happiness and contentment, but luck will also follow. E.g. if rather than criticize another’s action, I am accepting and understanding of their plight in full, or rather than be taking from others, I become self-giving toward them, life will quickly respond in our favor thereafter.
Recall the incident where Tom gives Red instructions on how to ride Seabiscuit before the race, only to see him get embroiled with another rider, which causes him to lose focus, and be defeated in the match. However, rather than scold Red in the aftermath, Charles remains calm and is accepting of the situation. In fact, he tries to understand the source of Red’s problem, which compels him to ask Red why he is so angry. This in turn causes Red to consider his own inner condition in life. The next day he asks Charles for a loan to pay his bills, which Charles is more than happy to oblige. As a result of now feeling better emotionally and psychologically, Red suddenly guides Seabiscuit to his first victory, a runaway that stuns the crowd. This has the effect of finally establishing the horse and the jockey as a winner. Because Charles accepted Red rather than criticize him, because he was generous, life cooperated with him by bringing his horse its first major victory. It also established Red as a solid rider, who would bring Seabiscuit even more victories, which also naturally benefited Charles as well. These gestures of acceptance and generosity are indicators of the power that self-giving behavior brings us in life. When we give to others rather than take, when we are accept them rather than scold, when we act out of our high regard rather than through the foggy lens of our own s ego, not only will the other person be uplifted and be energized, but powerful positive conditions are likely to come our way.
Attention Attracts
Everything in life responds positively to personal attention – whether people, objects, stocks of inventory, or money. When we increase the attention we give, that person or thing will not only be energized, but life tends to quickly bring us luck. E.g., out of the blue, machines will start working better, orders will suddenly pour, and unexpected sums of money will move in our direction. Normally, there does not seem to be any obvious correlation between such things, but that is in fact the way life works.
In the film, we see early on how Red relates to Seabiscuit -- perceiving how he has been abused in the past, and how he “needs to become a horse again,” as Tom suggests. The attention heaped on Seabiscuit by Red attracts a wonderful result, when the horse suddenly and most unexpectedly sheds his lethargy, and bolts through the countryside in a dramatic ride, something he has never demonstrated before. This turns the tide for the horse, as it is now not only cooperative, but shows the great speed that will be the basis of his great victories in the future.
Verbal Silence Attracts
One of the more interesting moments in Seabiscuit occurs when Tom first confronts the horse. Rather than try to force him into submission, he uses whet we might call an “inner” approach. Tom remains silent, which compels the horse to calm down on its own. This is similar to the technique used in the film ‘The Horse Whisperers.’ By not speaking, a calming vibration issues forth, which had the effect of soothing the horse. When we reduce the amount of speaking we do our own lives, especially when in the presence of others, life tends to bring us positive results thereafter. Speech expresses our life energy. When we conserve it, it tends to build up and attract corresponding positive circumstance from the field of life.
Intention Attracts
Earlier we saw how our intention is one of, if not the most important key to success in life. One truth about intention is that when we take to it to a higher degree or with greater intensity, life tends to quickly cooperate with us, directly fulfilling the very thing we intended to happen. For example, early on after Tom meets Seabiscuit, he says that the horse has spirit, and if it could be calmed down and trained, it could become a legitimate racehorse. Thus, he has an aspiration and intention for it to come about. Right after that, Tom comes upon Red, where he sees how he and the horse share something in common -- an intensity of spirit, which would enable them to work together. This serendipitous event is an immediate response to Tom’s earlier desire and intention to turn Seabiscuit him into a legitimate racehorse. Because he wanted it to happen, life presented him with the opportunity for its realization. When we want something bad enough, life tends to take over and creates conditions for its occurrence. It is one of the great secrets and expressions of the character of life.
There is another instance of this phenomenon involving Red. As we just saw, at one point, he is desperate for work -- willing to do anything to keep going. Though his boss does not put him in a race, he asks Red to hot walk one of the older, slower horses. A few moments after Red begins that chore, Tom walks up to him and sees him for the first time, and their destinies are altered forever. It is through Tom that Red will meet up with Seabiscuit. In sum, because Red so intensely wanted to succeed, he quickly attracted the very vehicle – Tom (and therefore Seabiscuit) -- that would fulfill his aspiration and intention.
We see this same law at work in the same episode from Tom’s point of view. Just before that same event, Tom is commenting to Charles about a horse they are watching. He says that in racing “it is not just the speed, but the heart." He tells Charles that you want a horse that is not afraid to compete; who wants to fight to win. Immediately after that, Tom sees Red for the first time, working tending that older, slower horse. It is a response from life to Tom’s focused remarks, interest, and aspiration for the type of horse he wants. Red will be the jockey who rides the very type of horse Tom had in mind. Thus, Red’s appearance is the response from life to Tom’s deep-seated aspiration and intention. (In fact, we could say that this is a double life response; or better yet that their individual intentions were clearly in alignment with one another, bringing a life response for both sides.)
Finally, in an earlier episode still, we see how Charles after arriving at the Mexican track shows a deep interest in getting into the horse racing business. Soon after he sets out to purchase several horses, he meets with Tom who is stroking a horse he had earlier saved. Tom tells him that everything has a purpose and is worth saving, which moves Charles, and thereafter they strike up a friendship. That relationship will bring great success for Charles through Seabiscuit. In essence, because Charles had a deep interest and intention getting into horseracing and purchase horses for that purpose, he quickly attracted the man, Tom, who would enable it to happen.
Full, Exhaustive Effort Attracts
One of the more interesting principles of life is that when you make the full effort to accomplish a work, life takes up where you left off and complete it on its own. For example, if you make a full, exhaustive effort to organize dense training materials, at the point you exhaust your effort, life tends to take over on its own and complete the work. E.g., you suddenly realize that three chapters you had to go through were already done before; or you receive a call that you don’t have to cover the remainder of the course, etc. We see this phenomenon at work in the film where Red says to Seabiscuit, "I know what you are all about," and then makes the full, concerted effort to tame the horse. Just after that grueling work is completed, Tom suddenly comes forward and introduces Red to Charles and his wife. The result is that his life is changed forever. Because Red made the full, exhaustive psychological and physical effort to tame the horse, life took over, and brought forth Charles, who would purchase the horse and lead the group, including Red, to Seabiscuit’s overwhelming successes. That is the power of making the full, exhaustive effort in any endeavor.
Energies of Society Attract
Before leaving the subject of how life respond to adjustments in consciousness, there is one other factor that affects our ability to attract these miraculous-like results. It is the effect of the outer atmosphere surrounding a work or endeavor. When it is positive, life tends to open up and cooperate with our efforts. If it is negative, it tends to block or delay results. In Seabiscuit, we see how in Charles’ dealings with Riddle, he is able to rally a good proportion of the nation to his side, which creates a positive, supportive atmosphere. That will in fact secretly boost Seabiscuit’s chances for success in the race with War Admiral. Not only will the fans inspire the jockey and other principals, thereby energizing them, but a vibration of energy is set loose that supports their actions in life. In a positive atmosphere, actions taken tend to gain the cooperation of life.
Negative Life Response[]
Just as life responds positively to movements of higher consciousness, so too life responds negatively to wanting behaviors and actions, such as a poor attitude, or a premature celebration, or a movement of ego, or something that is out of step with the prevailing external environment. Let’s explore some of these.
To a Poor Attitude
One way life responds negatively is when we express a wanting attitude – whether about others, ourselves, or about life itself. For example, if at a corporate Christmas part I am upset when another person wins the big prize because I have a long-term grudge against that individual, I am likely to encounter something negative soon thereafter, such as word coming of the misfortune of a friend or relative. Negative attitudes tend to project negative energies that are likely to quickly return to us as ill fortune.
In one scene in Seabiscuit, we see that Red is mad and bitter because his parents have not contacted him over the years, and because of his continual failure as a jockey and boxer. Right after that, we see how wrong things immediately go for him at a race at Tanforan. There is also a similar incident where he gets embroiled in a whipping content with another jockey during a race, which causes him to lose focus, leading to the victory of another horse. Once again, his negative attitudes and feelings -- in this case his anger and hostility toward his fellow jockey -- attract a decidedly negative outcome.
To Premature Celebration
Another behavior that blocks accomplishment is celebrating success before it has actually come to fruition. When you rejoice too soon, you squander your energies, and life thereafter tends to cancel all future success related to that endeavor. For example, two baseball players who have hit home runs in the game act cocky and speak ceaselessly about the flights of their own balls, only to see their team lose the game in extra innings in a bitter defeat. Or a basketball team is overly excited in the middle of the game as a result of a comeback and rally, only to see it squandered away later on. Their energies are allowed full play before the execution of the work, which attracts the opposite of their intention. Something similar happens to Red when he loses a race to a competitor when he hastily starts celebrating before the race is over. When our ego takes hold before the outcome is assured, we squander energy and attract ill fortune. When we remain calm and silent in such situations, we build on those energies, and therefore life works in our favor.
To Anachronistic, Trailing Edge Acts
In life, there are often leading edge characters participating in circumstance -- i.e. forces of progress -- as well as trailing edge, regressive individuals. One interesting point is that life often responds negatively to individuals who assert their anachronistic tendencies when the current of life in that situation is moving in another direction. For example, in Jane Austin’s ‘Pride and Prejudice’ we see how when the aristocratic, haughty, old guard Lady Catherine tries to interfere in a potential marriage between her nephew Mr. Darcy and Elizabeth Bennett, it backfires on her. In fact, that attempt at interference becomes the very instrument through which they realize that the two love one another, leading to their engagement and marriage soon thereafter! We see something similar in Seabiscuit.
At one point in the story, we see the effects of the actions of the trailing edge figure of the eastern owner War Admiral. In response to the request from Charles for a race between the two horses, Riddle responds that it is absurd to have the race because of his horse’s obvious superiority in terms of speed, breeding, et al. He then goes a step further and mocks the entire western horseracing scene. The end result of his reactionary taunts that he will be humiliated when his horse loses to Seabiscuit before a national audience. When trailing edge figures act in conditions where the positive, progressive, emerging forces are moving to the fore, their actions tend to work against them.
Predecessor Events[]
As mentioned earlier, just like an individual, life itself also has a character. It expresses in principles like inner-outer correspondence, i.e. that how the inner me determines the outer reality, which is the basis of the outcome of the phenomenon of life response, i.e. sudden good fortune. Another principle of life is that every event is indicated by a previous one. For example, when I go for a boat ride on a river and there is a near accident caused by a wonton vehicle that is speeding, I hearken back and recall that just before I embarked on the trip, there was a lot of difficulty getting to the dock on time. This earlier problem was in essence the predecessor and indicator of a future difficulty that would crop up. Every event in life has such a predecessor.
We see this rule in operation in Seabiscuit as well. Recall that just before the race with War Admiral, Red is asked to practice-ride an old associate's horse, which ends in a very serious accident, barring Red from riding in the big race. The predecessor of this was Red’s association with this individual years earlier when that person expressed a decided skepticism of Red’s abilities. This prior negative association was the predecessor of the accident that ruined Red’s chance of riding Seabiscuit to victory against War Admiral.
There are other examples of predecessor events in the story. For example, long before Charles watches George Woolf guide Seabiscuit over War Admiral in the great race, Charles sees Woolf win a race at the Mexican track. This victory was a predecessor of the great victory against War Admiral that Charles attends. In both cases, Charles watches Woolf in action; not recognizing that the first event involving Woolf would be a predecessor of a great victory by the same rider at a later date.
Counter Forces that Rise When One Tries to Achieve[]
An important principle of life is that when we aspire to move ourselves forward to the next level in life –- such as an attempt to steer our career in a new direction, or an offer approaches with the promise of tripling our income -- an opposite force is set loose that has a tendency to destroy it. If we are conscious of that fact, we can avoid it, avoiding being thwarted in our upward ascent. If we do not perceive it, we can easily be deflected from achieving a cherished goal. It can even turn our life in the opposite direction.
For example, when Red was presented with the opportunity to run in the most important race of his life, he was sidetracked by the sudden appearance of an old, problematic acquaintance. When that individual asked Red to practice ride a horse he was trying to sell, it led to the accident that prevented Red from riding Seabiscuit against War Admiral in perhaps the greatest race of all time.
Thus, a counter force rising when one tries to move to the next level can have that effect if one is not vigilant. If however one is mindful when such great opportunities arise, then one can take the necessary precaution to avoid catastrophe.
Life Progresses through Negative as Well[]
Another principle of life -- one that is also philosophical in nature -- is that life not only progresses through positive means, but through negative ones as well. In fact, we often move forward the quickest through the negative circumstances that befall us. For example, if a young Indian boy who is the victim of poverty and hardship is forced to flee his life with his family for the city, and then as a result is driven to become a multi-millionaire, then we can muse that his earlier difficulty was an instrument of his great accomplishment. I.e. the negative served a great purpose in his success.
Though it might sound harsh, we can say that Charles might never have raised and brought Seabiscuit to success if his son had not died and his wife had not left him. It created an opening in his being, which he filled by getting into the horse racing business, and then finding Tom, Red, and Seabiscuit. That flow of life from the negative to the positive not only brought him his own greatest successes, not only helped the other principals in the story achieve their greatest mark in life, but inspired an entire nation at a time of great suffering and duress. From this vantage point, we can conclude that often the greatest successes in life come about as a result of the greatest negatives. We could thus say that a negative is a more intense version of the positive. Or, to put it another way, a negative can be thought of as a positive in disguise.
Web Search Terms[]
Seabiscuit Review, Seabiscuit Analysis, Seabiscuit Summary, Seabiscuit Character Study, Seabiscuit Film, Seabiscuit Meaning, Seabiscuit Plot
Also see:
Accomplishment in Pride & Prejudice
Prosperity Portal
Life in Movies Project[]
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Another Old Movie Blog: Seabiscuit (2003) & The Story of Seabiscuit (1949)
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[] |
[
""
] | null |
[
"Jacqueline T. Lynch",
"View my complete profile"
] | null |
“The Story of Seabiscuit” (1949) and “Seabiscuit” (2003) raise the question on whether or not it is better to let some time pass before ...
|
en
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https://anotheroldmovieblog.blogspot.com/favicon.ico
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https://anotheroldmovieblog.blogspot.com/2012/05/seabiscuit-2003-story-of-seabiscuit.html
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en
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Another Old Movie Blog: Seabiscuit (2003) & The Story of Seabiscuit (1949)
|
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[
"Jacqueline T. Lynch",
"View my complete profile"
] | null |
“The Story of Seabiscuit” (1949) and “Seabiscuit” (2003) raise the question on whether or not it is better to let some time pass before ...
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https://anotheroldmovieblog.blogspot.com/favicon.ico
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https://anotheroldmovieblog.blogspot.com/2012/05/seabiscuit-2003-story-of-seabiscuit.html
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Turner Classic Movies presents the greatest classic films of all time from one of the largest film libraries in the world. Find extensive video, photos, articles, forums, and archival content from some of the best movies ever made only at TCM.com.
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https://en.wikipedia.org/wiki/Seabiscuit_(film)
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Seabiscuit (film)
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/static/apple-touch/wikipedia.png
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https://en.wikipedia.org/wiki/Seabiscuit_(film)
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2003 American film
SeabiscuitDirected byGary RossScreenplay byGary RossBased onSeabiscuit: An American Legend
by Laura HillenbrandProduced by
Kathleen Kennedy
Frank Marshall
Gary Ross
Jane Sindell
StarringCinematographyJohn SchwartzmanEdited byWilliam GoldenbergMusic byRandy Newman
Production
companies
Distributed byUniversal Pictures
Release date
Running time
141 minutesCountryUnited StatesLanguageEnglishBudget$87 million[1]Box office$148.3 million[1]
Seabiscuit is a 2003 American sports film co-produced, written and directed by Gary Ross and based on the best-selling 1999 non-fiction book Seabiscuit: An American Legend by Laura Hillenbrand. The film is loosely based on the life and racing career of Seabiscuit, an undersized and overlooked Thoroughbred race horse, whose unexpected successes made him a hugely popular media sensation in the United States during the Great Depression. At the 76th Academy Awards, Seabiscuit received seven nominations, including Best Picture, but ultimately lost all seven, including six to The Lord of the Rings: The Return of the King.
Plot
[edit]
In the early 20th century, as America enters the automobile age, Charles S. Howard opens a bicycle shop in San Francisco. He is soon selling automobiles, becoming the largest car dealer in California and one of the Bay Area's richest men. In the wake of the Great Depression, Canadian John "Red" Pollard's family is financially ruined, and he is sent to live with a horse trainer. Years pass and Pollard becomes a jockey, but amateur boxing leaves him blind in one eye.
After their young son is killed in an automobile accident, Howard's wife leaves him. He obtains a divorce in Mexico, where Pollard is struggling to make his mark as a jockey. Howard meets and marries Marcela Zabala. When he acquires a stable of racehorses, he hires itinerant horseman Tom Smith as his trainer. Smith convinces him to buy a colt called Seabiscuit. Though a grandson of the great Man o' War and trained by the renowned James E. Fitzsimmons, Seabiscuit is viewed as small, lazy, and unmanageable. Smith witnesses Pollard's similarly temperamental spirit, and hires him as Seabiscuit's jockey.
Under Smith's innovative training, Seabiscuit becomes the most successful racehorse on the West Coast and an underdog hero to the public. Howard issues a challenge to Samuel D. Riddle, owner of the East Coast champion and Triple Crown-winning racehorse War Admiral, but Riddle dismisses California racing as inferior. In the prestigious Santa Anita Handicap, Seabiscuit takes the lead, but Pollard's impaired vision prevents him from noticing another horse surging up on the outside. Losing by a nose, Pollard admits his partial blindness to Smith.
Howard declares that Pollard will remain Seabiscuit's jockey, and rallies public support for a match race with War Admiral. Riddle agrees, on the condition that they race with a rope and bell instead of a starting gate. With Seabiscuit at a disadvantage, Smith trains the horse to break fast at the sound of the bell. As the race approaches, Pollard severely fractures his leg in a riding accident. Informed he may never walk again, let alone ride, he recommends that his friend and skilled jockey George Woolf ride Seabiscuit, advising him on the horse's handling and behavior from his hospital bed.
The highly anticipated "race of the century" draws a sellout crowd, with 40 million more people listening on the radio. Seabiscuit takes an early lead until the far turn; following Pollard's advice, Woolf lets Seabiscuit look War Admiral in the eye before surging ahead, and Seabiscuit wins by four lengths, delighting the nation. A few months later, Seabiscuit injures his leg. Pollard, still recovering from his own injured leg, tends to the horse as they both heal. When Seabiscuit is fit enough to race again, Howard brings him back to the Santa Anita Handicap, but is reluctant to allow Pollard to ride and risk crippling himself for life. At the urging of Woolf and Marcela, Howard relents.
Pollard, using a self-made leg brace, finds himself and Seabiscuit facing Woolf in the race. Seabiscuit drops far behind the field until Woolf pulls his horse alongside Pollard, allowing Seabiscuit a good look at his mount. With Woolf's encouragement, Seabiscuit surges ahead and passes the others. Heading for the finish line several lengths ahead, Pollard explains that the story of Seabiscuit is not merely of three men who fixed a broken-down horse, but that Seabiscuit fixed them and, in a way, they fixed one another.
Cast
[edit]
Release
[edit]
The film was released on July 25, 2003, by Universal Pictures. Universal distributed the film in the United States and Canada, DreamWorks Pictures through United International Pictures handled distribution in Germany, Scandinavia, and Spain, while Spyglass Entertainment acted as pre-sales agent in all other territories. Japanese theatrical distribution was handled by UIP separately from the DreamWorks deal, while Pony Canyon handled home video rights,[3] with Buena Vista International purchasing distribution rights in all other territories.[4]
Reception
[edit]
Critical response
[edit]
On Rotten Tomatoes, the film has an approval rating of 78% based on 208 reviews, with an average rating of 7.1/10. The website's critical consensus reads, "A life-affirming, if saccharine, epic treatment of a spirit-lifting figure in sports history".[5] On Metacritic, the film has a weighted average score of 72 out of 100, based on 43 critics, indicating "generally favorable reviews".[6] Audiences surveyed by CinemaScore gave the film an average grade of "A" on a scale of A to F.[7]
Roger Ebert of the Chicago Sun-Times gave the film 3.5 stars out of 4, and wrote: "The movie's races are thrilling because they must be thrilling; there's no way for the movie to miss on those, but writer-director Gary Ross and his cinematographer, John Schwartzman, get amazingly close to the action."[8]
Accolades
[edit]
Group Category Recipient Result ASCAP Film and Television Music Awards Top Box Office Films Randy Newman Won 76th Academy Awards[9] Best Picture Kathleen Kennedy, Frank Marshall and Gary Ross Nominated Best Writing (Adapted Screenplay) Gary Ross Nominated Best Art Direction Art Direction: Jeannine Oppewall; Set Decoration: Leslie Pope Nominated Best Cinematography John Schwartzman Nominated Best Costume Design Judianna Makovsky Nominated Best Film Editing William Goldenberg Nominated Best Sound Mixing Andy Nelson,
Anna Behlmer and
Tod A. Maitland Nominated 54th ACE Eddie Awards Best Edited Feature Film – Dramatic William Goldenberg Nominated 2003 American Society of Cinematographers Awards Outstanding Achievement in Cinematography in Theatrical Releases John Schwartzman Won Broadcast Film Critics Association Awards 2003 Best Film Nominated Best Screenplay Gary Ross Nominated Directors Guild of America Awards 2003 Outstanding Directing – Feature Film Gary Ross Nominated 61st Golden Globe Awards Golden Globe Award for Best Motion Picture – Drama Nominated Golden Globe Award for Best Supporting Actor – Motion Picture William H. Macy Nominated Satellite Awards 2003 Best Supporting Actor – Motion Picture Jeff Bridges Nominated Best Art Direction and Production Design Nominated Best Cinematography John Schwartzman Nominated Best Costume Design Judianna Makovsky Nominated Best Editing William Goldenberg Nominated Best Original Score Randy Newman Nominated Best Adapted Screenplay Gary Ross Nominated Best Sound Nominated 10th Screen Actors Guild Awards Outstanding Performance by a Male Actor in a Supporting Role Chris Cooper Nominated Outstanding Performance by a Cast in a Motion Picture Elizabeth Banks, Jeff Bridges, Chris Cooper, William H. Macy, Tobey Maguire, and Gary Stevens Nominated Writers Guild of America Awards 2003 Best Adapted Screenplay Gary Ross Nominated
The film is recognized by American Film Institute in these lists:
2006: AFI's 100 Years...100 Cheers – #50[10]
See also
[edit]
List of films about horse racing
Film portal
United States portal
References
[edit]
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Seabiscuit, Zoolander, and Sonship — Dandelion Ministries
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[
"Sean Norris"
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2022-10-12T08:04:31-04:00
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God’s grace and the Spirit of sonship
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en
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https://assets.squarespace.com/universal/default-favicon.ico
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Dandelion Ministries
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https://www.dandelionministries.org/homepage/seabiscuit-zoolander-and-sonship
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Seabiscuit is one of my favorite movies. One of those go-tos that I always enjoy. It’s takes place during the Great Depression and is about an unlikely champion racehorse of the same name. I love movies set in the Great Depression era…probably because they speak to that deep seated, somewhat irrational fear in me of losing everything and ending up on the street. It helps to be reminded that others have actually survived that situation, AND the stories tend to highlight what is most important in life, and it’s not usually financially based. Another little peek into Sean’s psyche. Can I get an amen? Anywho…Seabiscuit was undersized and overlooked and became an inspirational symbol for “the little guy” struggling out there against the big bad world. In Seabiscuit’s case the big bad world was represented by a Triple Crown winner. The movie is based on a true story to boot. Seabiscuit is not the only character in the story that had been chewed up and spit out by life. The movie gives some of the back story for his trainer, his owner, and his jockey and how all of their stories collided with this little horse.
One of my favorite scenes in the film at first seems like a throw away…in fact I’ve read a few reviews of the movie online that have said just that…but it is not. It takes place between Charles Howard, the owner, and Red Pollard, the jockey. Red had learned how to survive on his own after being abandoned by his family. He was tough and lonely and was not very good at asking for help nor receiving it. At one point he needs to borrow some money and approaches Mr. Howard. He begins to tell some lie about needing dental work, but thinks better of it and risks flat-out asking for a loan. Mr. Howard doesn’t want or need an explanation. He looks at Red with a very fatherly smile and tone says, “Sure how much do you need?” Red says $10 telling him that he’ll try to pay him back and expecting some argument, but Mr. Howard simply hands him a $20. Red is clearly taken aback at Mr. Howard’s generosity. Mr. Howard smiles and says, “It’s fine.” We never actually learn what Red really needed the money for…the movie never revisits it, which is why many don’t like this scene. BUT I think it is so poignant because it shows how important this relationship was for Red…how transformative it would be. He was used to surviving…to be rejected…to being cast aside…to having to fight for any consideration…so much so that despite his hardened exterior it was clear he had begun to believe this is what he deserved. He treated himself pretty badly because that’s what he knew, that’s what everyone else did too. That’s all he had ever known. He was desperate to be loved, accepted, wanted. Mr. Howard gave him that and exceeded his expectations.
The film critic might argue that’s a little on the nose and too sentimental, but who cares?! It’s what we’re all desperate for. We’re all used to the feeling of rejection and the nagging fear of it. It’s what makes high school so dang dramatic and often traumatizing! All jockeying (see what I did there?) for acceptance by someone…maybe it was the actual jocks you wanted to be accepted by, or maybe the drama kids, the science kids, or the band, or a particular person…whoever it was there was someone that you cared a great deal about and what they thought about you. You were afraid of being rejected, cast aside, forgotten. Many of us have stories of suffering exactly that. Someone really did reject us, really did hurt us…confirmed that fear in us, and we carry the scars today. Too often it feels like a pattern in life. It doesn’t stop with high school, sadly. So many of the social dynamics of adulthood still come back to this base fear of rejection and need to be loved and accepted. It’s that same desire from my post last week for someone to hold me and tell me everything is gonna be ok.
But I want to take it further. It’s not just a generic need. Mr. Howard meets Red’s need for a father…a loving, caring, protective father. We all carry this parental need, even if we had the best parents in the world! Even in the best of situations there is still a longing for even more connection, more intimacy…to know as we are fully known. This is one of the things that we can relate to our parents about actually because they need it too. It is the amazing truth about the gospel. Jesus came to save us from our sins and to bring us into right relationship with God the Father. Scripture gives us a few ways to think about what that right relationship is: Creator and creation, God and worshipper/believer, Groom and bride, Master and servant, etc. But the one that trumps them all is Father and child and more specifically Father and son. You may think that’s a little one-sided at best and very sexist at worst, but there is a reason for the specific gender.
Let’s consider Paul’s letter to the Galatians. After Paul finishes explaining the purpose of the law…to hold us captive in our sin as a prison guard…he continues, “the law was our guardian until Christ came, in order that we might be justified by faith. But now that faith has come, we are no longer under a guardian, for in Christ Jesus you are all sons of God, through faith” (3:24-26). He is telling us the amazing news that we are not just accepted by God to be his servants, even though that would be a higher honor than the greatest earthly title…to be the servant of the God of the universe…no, Paul tells us we are so, so much more. We are God’s sons! We are his own children. Paul calls it the spirit of adoption elsewhere in Romans 8:15. That is what has happened in the cross of Jesus Christ…we have been forgiven, loved, accepted, and adopted as God’s own children.
Jesus is very clear about this in his own ministry teaching the disciples that the kingdom of God belongs to little children (Matthew 19:13-15). The life of faith is a childlike life…one of full dependence on God (of which I have written about here). Like a child to a parent, a life of need and vulnerability and being met there. Jesus brings us into his own family.
As if that weren’t enough it gets better! Paul specifies that we are sons of God. If you are a woman reading this you might be a little challenged by that label and maybe even offended. Well, you are in good company…the gospel offends everyone at some point or another. I know it’s not always easy to imagine myself adorned as a bride waiting for Jesus as my bridegroom, but it’s true about me nonetheless regardless of my feelings about it or my inability to imagine it (ref to Isaiah 61, Song of Songs, Matthew, Mark, Luke, John, Revelation, etc., etc.). Paul uses “son” to refer to all of God’s children because of where he goes next in Galatians. He says,
“But when the fullness of time had come, God sent forth his Son, born of woman, born under the law, to redeem those who were under the law, so that we might receive adoption as sons. And because you are sons, God has sent the Spirit of his Son into our hearts, crying, ‘Abba! Father!’ So you are no longer a slave, but a son, and if a son, then an heir through God” (4:4-7 emphasis mine).
Sonship mattered a great deal in the Ancient Near East. The firstborn son was heir to the father’s estate. He inherited everything that belonged to the father. Just think of the recently dubbed King Charles III of England. He was Elizabeth’s firstborn son and so rightful heir to the throne. He inherited all that was hers…kingdom, title, and fortune. Prince William is first in line after Charles and so on and so forth. Paul is highlighting the fact that we are God the Father’s heirs! He does not just welcome us into his kingdom, he gives it to us! All that is his is now ours.
You might be asking, “What about Jesus? Isn’t he the heir?” Yes, indeed he is…AND he has made us heirs too. Paul says as much again in Romans 8: “The Spirit himself testifies with our spirit that we are God’s children. Now if we are children, then we are heirs—heirs of God and co-heirs with Christ, if indeed we share in his sufferings in order that we may also share in his glory” (16-17). Jesus wanted us to be his equal brothers. Just think about that for a second. The Savior of the world wanted you to be co-heirs with him…to receive all that his Father intended for him. We see this in Mark 3:31-35 and again in Hebrews 2:5-11. You are promised God’s kingdom!
Just to back this up a little more and to drive it home for my sisters in Christ out there. Jesus applies this truth directly to Mary Magdalene and his disciples after he rises from the dead on Easter day. He has conquered the dead and has made good on all of God’s promises. He has guaranteed our sonship. After he opens Mary’s eyes to recognize him, Jesus says, “Do not cling to me, for I have not yet ascended to the Father; but go to my brothers and say to them, ‘I am ascending to my Father and your Father, to my God and your God’” (John 20:17). Jesus has made his father our father. All of us. And he has put us in his standing before his and our Father, as the son and heir.
This is a real mind blow. We can hardly fathom what this fully means for us other than it is really, really, really awesome! While this truth is overwhelming in many ways it also gives us solid ground on which to stand in the current zeitgeist of deconstruction. We are still obsessed with questions of identity, but it is so “in” right now to first deconstruct everything about yourself all the way down to your own biology. The question is no longer as simple as Derek Zoolander’s famous existential moment with a puddle…“who am I?” Now we are asking, “What am I?” And we’re pushing our deconstructed confusion onto our children effectively destroying any foundation on which to stand. They have to work on defining themselves completely from the biological level all the way up to the old questions of what you want to be when you grow up. Talk about living by the law! EVERYTHING is up to you! It is the loudest expression of that ancient sinful desire to be our own god. The proof is in the pudding. This is not resulting in more freedom like we so often believe it will. Rather it is more bondage…more depression, more anxiety, more fear, more anger, more suicide. And yet there is a word from outside…a voice that breaks through the insufferable white noise of us desperately trying to define ourselves…a voice that is stronger than our futile efforts to strip mine our personhood as we try to find some kind of hope in ourselves. Our Father in heaven declares, “You are my child! You are my heirs!”
God has made us his children through faith in his Son Jesus and has given us the Spirit of sonship…so we are now heirs to the King of kings! That’s who you are and what you are in Jesus Christ. That’s what his forgiveness means in your life. Not only are you set free from condemnation, set free from shame and guilt associated with sin, set free from death itself…all of which is so amazing it calls us all to rejoice…BUT you are set free to walk in your sonship. The guardian of the law is gone and you are now a child of grace and rightful heir of the Most-High God. There is so much more ahead for you! God promises you eternal life as princes and princesses in his kingdom. There’s a reason we all have an affinity for the fairy tale stories we heard as children…the Cinderella story where we are taken from slavery to being royals in the palace…they are echoes of truth and echoes of that longing in us for that right relationship with our Father in heaven.
And lastly, I want to highlight the implication we’ve seen from the beginning of this post. Having the Spirit of sonship in Jesus Christ naturally means you have a Father that loves you…his Father, The Father. One that delights in giving you all that he has (Luke 15:31, Matt. 7:11). One that knows you inside and out (Jer. 1:5, Psalm 139:13). One that beams when he looks upon you with the greatest sense of love and pride. A Father that sings over you (Zeph. 3:17). A Father that does not withhold anything from you (Rom. 8:31-32). One that knows your needs before you even know them let alone ask for them to be met (Matt. 6:8). Your Spirit of sonship means that the King of heaven uses all of his power to protect you and care for you. He has fought and won for you. You are loved, wanted, and accepted. You are his child. Amen.
Recommended Reading
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https://www.teacherspayteachers.com/Product/-Seabiscuit-by-Laura-Hillenbrand-MOVIE-POSTER-HOOK-WORKSHEET-7926536
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“Seabiscuit” by Laura Hillenbrand MOVIE POSTER & HOOK WORKSHEET
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Students create a movie poster for the book and write a "hook" to get the viewers attention...
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https://static1.teacherspayteachers.com/tpt-frontend/releases/production/current/a3a2f97a4b27a10f4e68.ico
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TPT
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https://www.teacherspayteachers.com/Product/Seabiscuit-by-Laura-Hillenbrand-MOVIE-POSTER-HOOK-WORKSHEET-7926536
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Seabiscuit Movie Poster (11 x 17)
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Seabiscuit Movie Poster (11 x 17) - Item MOVED0794 would make the perfect addition to your home or office or gift recipient. This superb Movie Poster is ready for hanging or framing and you will enjoy viewing this Movie Poster on your walls for many years to come. Your Poster will ship rolled in an oversized tube for m
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Dot & Bo
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https://dotandbo.com/products/seabiscuit-movie-poster-11-x-17-item-moved0794-080c
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Seabiscuit Movie Poster (11 x 17) - Item MOVED0794 would make the perfect addition to your home or office or gift recipient. This superb Movie Poster is ready for hanging or framing and you will enjoy viewing this Movie Poster on your walls for many years to come. Your Poster will ship rolled in an oversized tube for maximum protection.
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https://www.dandelionministries.org/homepage/seabiscuit-zoolander-and-sonship
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Seabiscuit, Zoolander, and Sonship — Dandelion Ministries
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2022-10-12T08:04:31-04:00
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God’s grace and the Spirit of sonship
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en
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https://assets.squarespace.com/universal/default-favicon.ico
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Dandelion Ministries
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https://www.dandelionministries.org/homepage/seabiscuit-zoolander-and-sonship
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Seabiscuit is one of my favorite movies. One of those go-tos that I always enjoy. It’s takes place during the Great Depression and is about an unlikely champion racehorse of the same name. I love movies set in the Great Depression era…probably because they speak to that deep seated, somewhat irrational fear in me of losing everything and ending up on the street. It helps to be reminded that others have actually survived that situation, AND the stories tend to highlight what is most important in life, and it’s not usually financially based. Another little peek into Sean’s psyche. Can I get an amen? Anywho…Seabiscuit was undersized and overlooked and became an inspirational symbol for “the little guy” struggling out there against the big bad world. In Seabiscuit’s case the big bad world was represented by a Triple Crown winner. The movie is based on a true story to boot. Seabiscuit is not the only character in the story that had been chewed up and spit out by life. The movie gives some of the back story for his trainer, his owner, and his jockey and how all of their stories collided with this little horse.
One of my favorite scenes in the film at first seems like a throw away…in fact I’ve read a few reviews of the movie online that have said just that…but it is not. It takes place between Charles Howard, the owner, and Red Pollard, the jockey. Red had learned how to survive on his own after being abandoned by his family. He was tough and lonely and was not very good at asking for help nor receiving it. At one point he needs to borrow some money and approaches Mr. Howard. He begins to tell some lie about needing dental work, but thinks better of it and risks flat-out asking for a loan. Mr. Howard doesn’t want or need an explanation. He looks at Red with a very fatherly smile and tone says, “Sure how much do you need?” Red says $10 telling him that he’ll try to pay him back and expecting some argument, but Mr. Howard simply hands him a $20. Red is clearly taken aback at Mr. Howard’s generosity. Mr. Howard smiles and says, “It’s fine.” We never actually learn what Red really needed the money for…the movie never revisits it, which is why many don’t like this scene. BUT I think it is so poignant because it shows how important this relationship was for Red…how transformative it would be. He was used to surviving…to be rejected…to being cast aside…to having to fight for any consideration…so much so that despite his hardened exterior it was clear he had begun to believe this is what he deserved. He treated himself pretty badly because that’s what he knew, that’s what everyone else did too. That’s all he had ever known. He was desperate to be loved, accepted, wanted. Mr. Howard gave him that and exceeded his expectations.
The film critic might argue that’s a little on the nose and too sentimental, but who cares?! It’s what we’re all desperate for. We’re all used to the feeling of rejection and the nagging fear of it. It’s what makes high school so dang dramatic and often traumatizing! All jockeying (see what I did there?) for acceptance by someone…maybe it was the actual jocks you wanted to be accepted by, or maybe the drama kids, the science kids, or the band, or a particular person…whoever it was there was someone that you cared a great deal about and what they thought about you. You were afraid of being rejected, cast aside, forgotten. Many of us have stories of suffering exactly that. Someone really did reject us, really did hurt us…confirmed that fear in us, and we carry the scars today. Too often it feels like a pattern in life. It doesn’t stop with high school, sadly. So many of the social dynamics of adulthood still come back to this base fear of rejection and need to be loved and accepted. It’s that same desire from my post last week for someone to hold me and tell me everything is gonna be ok.
But I want to take it further. It’s not just a generic need. Mr. Howard meets Red’s need for a father…a loving, caring, protective father. We all carry this parental need, even if we had the best parents in the world! Even in the best of situations there is still a longing for even more connection, more intimacy…to know as we are fully known. This is one of the things that we can relate to our parents about actually because they need it too. It is the amazing truth about the gospel. Jesus came to save us from our sins and to bring us into right relationship with God the Father. Scripture gives us a few ways to think about what that right relationship is: Creator and creation, God and worshipper/believer, Groom and bride, Master and servant, etc. But the one that trumps them all is Father and child and more specifically Father and son. You may think that’s a little one-sided at best and very sexist at worst, but there is a reason for the specific gender.
Let’s consider Paul’s letter to the Galatians. After Paul finishes explaining the purpose of the law…to hold us captive in our sin as a prison guard…he continues, “the law was our guardian until Christ came, in order that we might be justified by faith. But now that faith has come, we are no longer under a guardian, for in Christ Jesus you are all sons of God, through faith” (3:24-26). He is telling us the amazing news that we are not just accepted by God to be his servants, even though that would be a higher honor than the greatest earthly title…to be the servant of the God of the universe…no, Paul tells us we are so, so much more. We are God’s sons! We are his own children. Paul calls it the spirit of adoption elsewhere in Romans 8:15. That is what has happened in the cross of Jesus Christ…we have been forgiven, loved, accepted, and adopted as God’s own children.
Jesus is very clear about this in his own ministry teaching the disciples that the kingdom of God belongs to little children (Matthew 19:13-15). The life of faith is a childlike life…one of full dependence on God (of which I have written about here). Like a child to a parent, a life of need and vulnerability and being met there. Jesus brings us into his own family.
As if that weren’t enough it gets better! Paul specifies that we are sons of God. If you are a woman reading this you might be a little challenged by that label and maybe even offended. Well, you are in good company…the gospel offends everyone at some point or another. I know it’s not always easy to imagine myself adorned as a bride waiting for Jesus as my bridegroom, but it’s true about me nonetheless regardless of my feelings about it or my inability to imagine it (ref to Isaiah 61, Song of Songs, Matthew, Mark, Luke, John, Revelation, etc., etc.). Paul uses “son” to refer to all of God’s children because of where he goes next in Galatians. He says,
“But when the fullness of time had come, God sent forth his Son, born of woman, born under the law, to redeem those who were under the law, so that we might receive adoption as sons. And because you are sons, God has sent the Spirit of his Son into our hearts, crying, ‘Abba! Father!’ So you are no longer a slave, but a son, and if a son, then an heir through God” (4:4-7 emphasis mine).
Sonship mattered a great deal in the Ancient Near East. The firstborn son was heir to the father’s estate. He inherited everything that belonged to the father. Just think of the recently dubbed King Charles III of England. He was Elizabeth’s firstborn son and so rightful heir to the throne. He inherited all that was hers…kingdom, title, and fortune. Prince William is first in line after Charles and so on and so forth. Paul is highlighting the fact that we are God the Father’s heirs! He does not just welcome us into his kingdom, he gives it to us! All that is his is now ours.
You might be asking, “What about Jesus? Isn’t he the heir?” Yes, indeed he is…AND he has made us heirs too. Paul says as much again in Romans 8: “The Spirit himself testifies with our spirit that we are God’s children. Now if we are children, then we are heirs—heirs of God and co-heirs with Christ, if indeed we share in his sufferings in order that we may also share in his glory” (16-17). Jesus wanted us to be his equal brothers. Just think about that for a second. The Savior of the world wanted you to be co-heirs with him…to receive all that his Father intended for him. We see this in Mark 3:31-35 and again in Hebrews 2:5-11. You are promised God’s kingdom!
Just to back this up a little more and to drive it home for my sisters in Christ out there. Jesus applies this truth directly to Mary Magdalene and his disciples after he rises from the dead on Easter day. He has conquered the dead and has made good on all of God’s promises. He has guaranteed our sonship. After he opens Mary’s eyes to recognize him, Jesus says, “Do not cling to me, for I have not yet ascended to the Father; but go to my brothers and say to them, ‘I am ascending to my Father and your Father, to my God and your God’” (John 20:17). Jesus has made his father our father. All of us. And he has put us in his standing before his and our Father, as the son and heir.
This is a real mind blow. We can hardly fathom what this fully means for us other than it is really, really, really awesome! While this truth is overwhelming in many ways it also gives us solid ground on which to stand in the current zeitgeist of deconstruction. We are still obsessed with questions of identity, but it is so “in” right now to first deconstruct everything about yourself all the way down to your own biology. The question is no longer as simple as Derek Zoolander’s famous existential moment with a puddle…“who am I?” Now we are asking, “What am I?” And we’re pushing our deconstructed confusion onto our children effectively destroying any foundation on which to stand. They have to work on defining themselves completely from the biological level all the way up to the old questions of what you want to be when you grow up. Talk about living by the law! EVERYTHING is up to you! It is the loudest expression of that ancient sinful desire to be our own god. The proof is in the pudding. This is not resulting in more freedom like we so often believe it will. Rather it is more bondage…more depression, more anxiety, more fear, more anger, more suicide. And yet there is a word from outside…a voice that breaks through the insufferable white noise of us desperately trying to define ourselves…a voice that is stronger than our futile efforts to strip mine our personhood as we try to find some kind of hope in ourselves. Our Father in heaven declares, “You are my child! You are my heirs!”
God has made us his children through faith in his Son Jesus and has given us the Spirit of sonship…so we are now heirs to the King of kings! That’s who you are and what you are in Jesus Christ. That’s what his forgiveness means in your life. Not only are you set free from condemnation, set free from shame and guilt associated with sin, set free from death itself…all of which is so amazing it calls us all to rejoice…BUT you are set free to walk in your sonship. The guardian of the law is gone and you are now a child of grace and rightful heir of the Most-High God. There is so much more ahead for you! God promises you eternal life as princes and princesses in his kingdom. There’s a reason we all have an affinity for the fairy tale stories we heard as children…the Cinderella story where we are taken from slavery to being royals in the palace…they are echoes of truth and echoes of that longing in us for that right relationship with our Father in heaven.
And lastly, I want to highlight the implication we’ve seen from the beginning of this post. Having the Spirit of sonship in Jesus Christ naturally means you have a Father that loves you…his Father, The Father. One that delights in giving you all that he has (Luke 15:31, Matt. 7:11). One that knows you inside and out (Jer. 1:5, Psalm 139:13). One that beams when he looks upon you with the greatest sense of love and pride. A Father that sings over you (Zeph. 3:17). A Father that does not withhold anything from you (Rom. 8:31-32). One that knows your needs before you even know them let alone ask for them to be met (Matt. 6:8). Your Spirit of sonship means that the King of heaven uses all of his power to protect you and care for you. He has fought and won for you. You are loved, wanted, and accepted. You are his child. Amen.
Recommended Reading
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Seabiscuit
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international version
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Movieposters.com
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Strong and sleek; and in a wide range of natural colors; these wooden frames work beautifully in any décor and with any poster.
Strong and sleek; and in a wide range of natural colors; these wooden frames work beautifully in any décor and with any poster.
Strong and sleek; and in a wide range of colors; these frames work beautifully in any décor and with any poster.
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The Story of Seabiscuit 22 x 28 Movie Poster - Style A
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The Story of Seabiscuit 22 x 28 Movie Poster - Style A Shirley Temple, Barry Fitzgerald, Lon McCallister, Rosemary DeCamp, Donald MacBride, Pierre Watkin, William Forrest, Joe Hernandez, Hal J. Moore, Clem McCarthy, Sugarfoot Anderson, Seabiscuit; DIRECTED BY: David Butler; PRODUCER: William Jacobs;
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Brand name products from the manufacturer for less and always free shipping! ArtFuzz is the source of unique products for the home, the office or just as a gift.
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https://www.reelviews.net/search/actor/elizabeth-banks/2/
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Movies starring Elizabeth Banks
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On Reelviews you can find extended reviews and ratings for movies starring 'Elizabeth Banks', including thoughts on the world of cinematography by James Berardinelli.
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Reelviews Movie Reviews
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Lego Movie, The
Legos. They seem to have been around forever (actually, since 1949). As a kid, some 40 years ago, I can remember playing with them: colored plastic bricks that snapped together. Since then, the Lego empire has expanded, venturing into arenas previ...
Man on a Ledge
Okay, so maybe after seeing Tom Cruise scale the tallest building in the world in Mission: Impossible - Ghost Protocol, 21 stories doesn't seem that high... but it's still a long way down. And I'd be willing to bet Sam Worthington didn't do all his...
Meet Dave
Back in the 1980s, it wasn't uncommon to hear Eddie Murphy referred to as a "comic genius." 20 years later, the man who once made a concert film called Raw has become a purveyor of PG-rated pabulum. At one point, Murphy could deliver while collec...
Next Three Days, The
The Next Three Days, Paul Haggis' adaptation of the 2008 French film, Anything for Her, uses an interesting concept as a cornerstone of the foundation. Instead of employing a seasoned professional as the lead character of this heist thriller, the ...
Our Idiot Brother
Lately, comedies seem to come in two flavors: profane raunch-fests that seek to garner laughs via shock tactics and big-screen sit-coms. Despite Zooey Deschanel's repeated utterance of the word "fuck" and a dud of a threesome, Our Idiot Brother fal...
Pitch Perfect
Pitch Perfect looks, sounds, and feels like pretty much every other movie that features a singing or dancing competition. With all the effort invested in the musical numbers, the dramatic elements feel like warmed-over John Hughes. And it's not eve...
Pitch Perfect 2
Spoiler Warning! Because I reveal things about the ending of Pitch Perfect 2 in this review, I am duty-bound to warn readers in case they wish to stop now. (Of course, if you don't care, feel free to continue…) I am as far from the targ...
Role Models
Role Models takes a familiar PG-rated plot and adds enough profanity and nudity to earn it a family unfriendly R. Sadly, an injection of raunchiness does not equate to an increase in quality and, while Role Models can boast the occasionally funny ...
Seabiscuit
Seabiscuit is the great hope of the adult movie-going audience: a summer motion picture that is not designed to appeal to teenage boys. Ordinarily, one might think it would be a risk on Universal's part to release the movie in late July, but the a...
Skincare
Skincare takes its inspiration from the real-life case of Dawn DaLuise, a West Hollywood aesthetician whose dubious business tactics, which may have included hiring a hitman to eliminate a rival, made headlines in the L.A. era back in the mid-2010...
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https://www.imdb.com/title/tt0329575/
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Mit dem Willen zum Erfolg (2003)
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[
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[] |
2003-09-25T00:00:00
|
Seabiscuit - Mit dem Willen zum Erfolg: Directed by Gary Ross. With David McCullough, Jeff Bridges, Paul Vincent O'Connor, Chris Cooper. True story of the undersized Depression-era racehorse whose victories lifted not only the spirits of the team behind it but also those of their nation.
|
en
|
IMDb
|
https://www.imdb.com/title/tt0329575/
|
"Sea Biscuit" is a story about a long shot horse and a man who discover each other on the road to equestrian glory. An extremely rewarding journey though the lives of man and beast. Every aspect of human emotion, bonding and courage is explored with an "equine" tinge. Set in a time when horse racing is more passion than business, Seabiscuit glorifies the positive appeal of horse racing. Every derby event is an emotional doorway which lifts your spirits. Be it the Santa Anita or the Pimilco, you are just just hanging on the edge of your seat praying, vying and hoping for a Seabiscuit win. Such is the emotional grasp and visual brilliance of Gary Ross's direction and Scwartzman's cinematography. Being a thoroughbred race horse by birth, Seabiscuit treads the race track under the watchful eyes of trainer Tom Smith (played by Chris Cooper) and jockey Red Poddard (played by Tobey Mcguire). What follows is a sequence of predictable vicissitudes. Why! This movie wasn't advertised in the mystery genre either!
A frail looking (really) Tobey manages to deeply bond with the horse at least on screen, kudos indeed. Nobody else could have possibly fit into his role as well as he did, physically too. Chris Cooper is the silent marvel. There is a completely subtle tinge to his acting which lays low, yet beautifully exuberates class. Seabiscuit is simply one of those "silent' movies which just hurtles you beyond imaginable frontiers. Sit back and relax and let the long shot consume you.
|
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5867
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dbpedia
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3
| 31
|
https://www.outerbanksvacations.com/blog/outer-banks-movies-tv-shows
|
en
|
Outer Banks Movies & TV Shows
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[] | null |
Take a look at our list of some of the major movies and shows that take place on the Outer Banks and get ready for an epic OBX-themed family movie night.
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en
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/sites/all/themes/custom/vrweb_foundation/images/favicon-152.png
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https://www.outerbanksvacations.com/blog/outer-banks-movies-tv-shows
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Movies
Movie: Nights in Rodanthe (2008)
Nicholas Sparks is a staple when it comes to NC-based romance. He’s set many of his books in various areas of North Carolina, with many of them taking place in the Outer Banks and other coastal areas like Wilmington. Nights in Rodanthe tells the dramatic story of a couple who fall in love during a hurricane on the island and spend the rest of their lives intertwined. This particular story and adaptation take place in, you guessed it, Rodanthe, and much of the movie was actually filmed there, as well.
Movie: Message in a Bottle (1999)
This deeply romantic movie follows the story of a woman who finds a love letter in a bottle while on a trip to Cape Cod and traces its author back to the beaches of the Outer Banks. None of the actual filming of the movie took place on the Outer Banks, but it still seeks to capture the magic and romance of these beautiful barrier islands.
Movie: Brainstorm (1983)
This science fiction film was filmed throughout North Carolina. It tells the story of a couple of scientists who invent a machine that allows people to share sensory experiences. One of the most poignant scenes in the movie (no spoilers) takes place at the Wright Brothers Memorial and was filmed in Kill Devil Hills as a homage to the brothers’ innovative contributions to science. If you’re interested in a road trip, other scenes were filmed in Raleigh, Pinehurst, and the Duke University Chapel in Durham.
Movie: The Peanut Butter Falcon (2019)
The Peanut Butter Falcon was co-written and directed by OBX local Tyler Nilson and stars Shia LaBeouf, Zak Gottsagen, and Dakota Johnson. The film was shot in Savannah, Georgia and on the Outer Banks and tells the story of Zak, a 22-year-old man with Down Syndrome, who escapes his care home to pursue his dreams of becoming a professional wrestler.
Movie: Send It (2019)
Send It follows the story of Billy who is set to compete at a kiteboarding competition on the Outer Banks but ends up falling in love with a local girl. The film was actually shot on Hatteras Island and takes place during the Wind Voyager Triple-S Invitational, which is an actual kiteboarding tournament that takes place annually on Hatteras Island.
Movie: Call Sign Romeo (2022)
Call Sign Romeo was inspired by real events that took place at First Flight High School and the 2016 wrestling state championships. The story explores the life of Chris Torres who is a high school wrestler with dreams of getting into the Naval Academy. The film was primarily shot on the Outer Banks and most of the cast and crew were OBX locals.
Movie: Sol (2012/Pending Re-release)
Filmed almost exclusively in Jockey's Ridge State Park, Sol is a creative, indie film that premeiered at the London Science Fiction Film Festival in 2012. The film is described as Star Trek meets Lord of the Flies. The film is currently being rebranded as Sol: Invictus and you can view the updated trailer online here.
Television Shows
TV: Outer Banks
Alright, you knew this one was coming. The show Outer Banks by Netflix has taken the world by storm and introduced a whole new generation of beautiful to these beautiful barrier islands. The show takes place in a fictional town on the theoretical “Outer Banks” of North Carolina in Kildare County…which sounds strangely close to Kill Devil Hills and Dare County, right? Even though the show wasn’t actually filmed in North Carolina, it still highlights many of the most important parts of living on the OBX including a deeply-rooted fishing culture, lighthouse, ferries, and, of course, shipwrecks and surfing. It’s a fun adventure that gives you a taste of a romantic Outer Banks that is exciting and definitely entertaining. Though, we do feel the need to point out that you can’t actually take a ferry from the Outer Banks to Chapel Hill.
TV: AHS: Roanoke
If horror is more your genre, Ryan Murphey’s American Horror Story: Roanoke, is at least theoretically based on the mystery of the Lost Colony on Roanoke Island. Several episodes appear to take place in 1590 Roanoke, now Manteo, and show the origins of a colonial farmhouse that serves as the backdrop for a found-footage horror. During flashbacks in the original story, Murphy puts a spin on the disappearance of the Lost Colony that will feel somewhat familiar for AHS fans. And if horror isn’t your thing, you can still experience the splendor and wonder of the Lost Colony (without the scares) in America’s longest-running outdoor, Tony Award-winning drama “The Lost Colony” throughout the summer.
TV: Wicked Tuna: Outer Banks
This spinoff series is about as real as it gets for fishermen off the coast. Now streaming on Disney+, Wicked Tuna: Outer Banks follows the wild and dangerous lives of fishermen as they depart from Wanchese Marina to catch prized bluefin tuna. The show explores rivalries between boats as well as important issues like overfishing and quota regulations. If you’re looking for a taste of excitement while catching a glimpse of the harsher realities of fishing for a living on the Outer Banks, this can be a great binge-worthy option.
TV: The Andy Griffith Show (sort-of)
Andy Griffith is arguably one of the Outer Banks’ most famous residents, having gotten his start by performing in “The Lost Colony” and retiring here until his death in 2012. When it comes to the famous Mayberry of the show, which aired from 1960 to 1968 with a total of 249 episodes, many articles will claim that it was based on Andy Griffith’s hometown of Mount Airy. However, Andy Griffith spent much of his life in Manteo, NC, and maintained his home here in the later years of his life. People who watch the show will feel bits and pieces of Griffith’s Manteo in his interpretation of Mayberry as perhaps a gentle blending of the two North Carolina towns that bore him.
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5867
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1
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https://www.posterazzi.com/seabiscuit-movie-poster-print-11-x-17-item-movif7946/
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en
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Seabiscuit Movie Poster Print (11 x 17) - Item # MOVIF7946
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Get More! Flat Rate Shipping! The Coolest Posters at Awesome Prices! Call 888-519-7195
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en
|
Posterazzi
|
https://www.posterazzi.com/seabiscuit-movie-poster-print-11-x-17-item-movif7946/
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Shipping & Returns
Returns Policy
You may return any items within 30 days of delivery for an exchange or a full refund. We offer a 30 Day Money Back Guarantee so that you can always buy with confidence.
You should expect to receive your refund within 2 weeks of giving your package to the return shipper, however, in many cases you will receive a refund more quickly. This time period includes the transit time for us to receive your return from the shipper (5 to 10 business days), the time it takes us to process your return once we receive it (3 to 5 business days), and the time it takes your bank to process our refund request (5 to 10 business days).
If you need to return an item, please Contact Us with your order number and details about the product you would like to return. We will respond quickly with instructions for how to return items from your order.
Shipping
Posterazzi is offering Free Shipping on all U.S. Orders placed today. Your order total must be $15.00 or more to qualify for the Free Shipping promotion. If your order is less than $15.00 we offer Standard Shipping within the U.S at flat rate of only $4.99.
We can ship to virtually any address in the world. Shipping to Canada is a flat rate of $14.99 and all other countries are $19.99 and there is also no extra charge when shipping more than one item.
All orders are shipped promptly using the United States Postal Service.
|
|||||
5867
|
dbpedia
|
1
| 69
|
https://triplemountain.com/products/dvd-seabiscuit
|
en
|
Horse Movie DVD: Seabiscuit
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[
""
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From the jacket: A great American story from Academy Award-nominated filmmaker Gary Ross. Based on the inspiring true story of three men - a jockey, a trainer and a businessman - and the undersized racehorse who took the entire nation on the ride of a lifetime. Starring: Toby Maguire, Jeff Bridges, Chris Cooper Rat
|
en
|
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|
Triple Mountain Model Horses
|
https://triplemountain.com/products/dvd-seabiscuit
|
From the jacket:
A great American story from Academy Award-nominated filmmaker Gary Ross. Based on the inspiring true story of three men - a jockey, a trainer and a businessman - and the undersized racehorse who took the entire nation on the ride of a lifetime.
Starring: Toby Maguire, Jeff Bridges, Chris Cooper
Rated: PG-13
Year: 2003
By: DreamWorks Pictures
Condition: a few very faint scratches on disc. Jacket is like new.
|
||
5867
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dbpedia
|
1
| 45
|
https://meansheets.com/2011/06/24/horseracing-movie-posters/seabiscuit-movie-poster/
|
en
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seabiscuit movie poster
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2011-06-24T00:00:00
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Meansheets movie poster blog features vintage movie posters, French posters, Italian posters, British film posters, and famous poster artists-illustrators.
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en
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https://secure.gravatar.com/blavatar/994015f87fd4025369aae111bffbf4d46c76d3f6004600b3153085ceb12457f9?s=32
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Movie Poster Museum
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https://meansheets.com/2011/06/24/horseracing-movie-posters/seabiscuit-movie-poster/
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Already have a WordPress.com account? Log in now.
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5867
|
dbpedia
|
2
| 10
|
https://www.secondstorybooks.com/pages/books/1377871/original-the-story-of-seabiscuit-movie-poster
|
en
|
ORIGINAL "THE STORY OF SEABISCUIT" MOVIE POSTER
|
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[
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1949. Movie theatre insert measures 14 in. x 36 in. In Good condition. Moderate age toning and light soiling to the surface. Wear to edges and corners including close tears which are reinforced with adhesive taps. Two small pin holes to the upper part of of the poster. Creasing along original folding lines. Shelved in Rockville Room A. FJ Consignment.
|
en
|
https://www.secondstorybooks.com/favicon.ico
|
Second Story Books
|
https://www.secondstorybooks.com/pages/books/1377871/original-the-story-of-seabiscuit-movie-poster
|
1949. Movie theatre insert (measures 14 in. x 36 in.) In Good condition. Moderate age toning and light soiling to the surface. Wear to edges and corners including close tears which are reinforced with adhesive taps. Two small pin holes to the upper part of of the poster. Creasing along original folding lines. Shelved in Rockville Room A. FJ Consignment.
1377871
Special Collections
|
||||
5867
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dbpedia
|
1
| 12
|
https://postermemorabilia.com/products/seabiscuit-signed-movie-poster
|
en
|
SEABISCUIT - Signed Poster + COA
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Pay homage to the movie - Seabiscuit with this hand-signed poster by the stars. youtubeembedcode de w://add-link-exchange.com In the midst of the Great Depression, a businessman (Jeff Bridges) coping with the tragic death of his son, a jockey with a history of brutal injuries (Tobey Maguire) and a down-and-out horse tr
|
en
|
//postermemorabilia.com/cdn/shop/files/fav_c0da9307-8f28-4c64-8a3d-5b653222689f_32x32.png?v=1640009856
|
Poster Memorabilia
|
https://postermemorabilia.com/products/seabiscuit-signed-movie-poster
|
Pay homage to the movie - Seabiscuit with this hand-signed poster by the stars.
In the midst of the Great Depression, a businessman (Jeff Bridges) coping with the tragic death of his son, a jockey with a history of brutal injuries (Tobey Maguire) and a down-and-out horse trainer (Chris Cooper) team up to help Seabiscuit, a temperamental, undersized racehorse. At first the horse struggles to win, but eventually Seabiscuit becomes one of the most successful thoroughbreds of all time, and inspires a nation at a time when it needs it most.
Complete with a serialized certificate of authenticity and verifiable numbered hologram, this piece is a secure investment that will increase in value with age.
Product Details:
— Product Dimension: 27" x 40"H
— Product Description Seabiscuit Poster
— Hand-Signed by Tobey McGuire, Jeff Bridges, and Chris Cooper
— Product Condition: Used
— Each piece is unique and individually Hand-Signed and may slightly vary from pictures shown
— Includes Certificate Of Authenticity + Numbered Hologram
|
||
5867
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dbpedia
|
1
| 7
|
https://www.amazon.com/SEABISCUIT-MOVIE-POSTER-ORIGINAL-BRIDGES/dp/B00EP7GH10
|
en
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Amazon.com
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Enter the characters you see below
Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
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5867
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dbpedia
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1
| 53
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https://www.moviepostershop.com/seabiscuit-movie-poster-2003
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en
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Seabiscuit Movie Posters From Movie Poster Shop
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Seabiscuit posters for sale online. Buy Seabiscuit movie posters from Movie Poster Shop. Were your movie poster source for new releases and vintage movie posters.
|
https://www.moviepostershop.com/images/favicon.ico
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https://www.moviepostershop.com/seabiscuit-movie-poster-2003
| |||||||
5867
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dbpedia
|
3
| 6
|
https://www.imdb.com/title/tt0329575/reviews
|
en
|
Mit dem Willen zum Erfolg (2003)
|
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Seabiscuit - Mit dem Willen zum Erfolg (2003) on IMDb: Movies, TV, Celebs, and more...
|
IMDb
|
https://www.imdb.com/title/tt0329575/reviews
| |||||||
5867
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dbpedia
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http://americanfilm.afi.com/issue/2013/6/daily-list
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en
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American Film
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[
"American Film",
"AFI",
"American Film Institute",
"quizzes",
"breaking news",
"news"
] | null |
[] | null |
Daily pop quizzes and breaking news from your American Film Institute
|
en
|
/favicon.ico
| null |
We posed our usual 10 questions to a member of the AFI staff. This time we spoke to Sky Sitney, Festival Director of AFI Docs, on a long distance call from Los Angeles to Silver Spring, Maryland, home of the AFI Silver Theatre and Cultural Center. It was the eleventh hour for the eleventh edition of the festival formerly known as Silverdocs, the hectic period when everything comes together for the June 19-23 event. In addition to its new name, AFI Docs will take place at iconic venues in our nation's capital this year, as AFI, which was founded in the White House Rose Garden in 1965, returns to the old neighborhood.
1. Where are you from? I'm from New York City. I grew up on the Upper West Side on 88th and Broadway, and commuted to the Lower East Side on weekends where my father lived, so I had a bi-island, dual Manhattan residence.
2. Where did you go to school? I graduated from Sarah Lawrence College and got my Masters and completed all my coursework for a PhD – I'm ‘all but dissertation' – from NYU in the Cinema Studies Department.
3. What did you do before you came to AFI? A number of things – almost simultaneously. I was finishing up my doctoral coursework at NYU, which included teaching in the Cinema Studies Department, while I also served as the Director of Programming for the Newport International Film Festival, which, of course, is in Rhode Island, although the position was based in New York City. That work was the culmination of a little bit over a decade of work in the film industry that spanned a variety of disciplines. I worked at Fine Line Features, which is the art house division of New Line Cinema, as well as for a very small indy production company, C-Hundred Film Corp, run by the independent filmmaker Jim McKay and R.E.M. lead singer Michael Stipe.
4. How long have you been at AFI? I've been here eight years. I'm going into my eighth festival.
5. What do you do at AFI? I am the Festival Director of AFI Docs, formerly Silverdocs. I began as the Director of Programming, was promoted to Artistic Director in 2009, and then Festival Director in 2011. I guide the overall artistic direction of the Festival and its intersection with strategic partnerships. I oversee the curation of a program culled from over 2,200 submissions representing the great diversity of the documentary genre. In previous incarnations I also developed, curated, and booked the festival's concurrent conference that presented over 65 panels, master classes and pitching forums.
6. How does that affect our members? My colleague Tiffany Graham-Golden manages membership for the AFI Silver, and we make sure that all AFI members get special opportunities such as advance ticket sales and invitations to special events.
7. What was your best day at AFI? I remember a sense of utter euphoria at the close of the Festival in my first year as the Festival Director. On that closing night, when that final film finished, I felt a sense of sheer relief that the Festival had been a success; there weren't any catastrophes. I looked around the room at the faces of my dear colleagues, all of us who had been so deeply committed and invested in working tirelessly to put this on, and felt a great sense of camaraderie and appreciation.
8. What are you working on today? We are working on the launch in just two months of a new vision of the Festival, which includes a new presenting sponsor in Audi and an expansion into the heart of Washington DC.
9. What don't your colleagues know about you? My gosh. That's tough because we're very transparent here. I think that after hours and hours of watching earnest, social issue documentaries as part of the job, one way I like to relax is to watch one mindless reality show as a kind of wasabi, a way to cleanse the palette. To be honest, I haven't been able to indulge in that pleasure, because we've been too busy, but I like to squeeze in TOP CHEF or PROJECT RUNWAY when given the chance.
|
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https://www.benmeyersinternational.com/2021/08/seabiscuit-theatrical-release-usa-2003.html
|
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Ben Meyers International Movie Critics: SEABISCUIT (Theatrical Release USA 2003)
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[
"https://www.youtube.com/embed/EMEUPjObxxU"
] |
[] |
[
""
] | null |
[] | null |
Ben Meyers International Movie Critics,Movie Critiques,Movie Critics,
|
https://www.benmeyersinternational.com/favicon.ico
|
https://www.benmeyersinternational.com/2021/08/seabiscuit-theatrical-release-usa-2003.html
|
Ben Meyers’ rating: 4.4|5.0 Starsìììì
Seabiscuit—unusually well done—teaches as well as entertains. It has an unexpected casting mix that one may expect to fail onscreen: Chris Cooper, Jeff Bridges, and Tobey McGuire. But it is a dynamite trio that completes each scene with realism and professionalism that lures its audience into sitting back and enjoying the show. The message that broken things can be mended whether they are human or animal and that one does not give up on life is particularly welcome and well presented. It’s an inspirational watch that revolves around ‘the little horse that could’. This movie deserves its addition to the family home video library.
Film Poster Courtesy of Wikipedia
Storyline
Inspiring story of a horse that is too small, a jockey who is too big, a horse trainer who has hit bottom, and a Buick car salesman who believes that such an impossible set of circumstances does not determine failure.
Additional Thanks
Thank you to Director Gary Ross for directing effort. Thank you to Producers Kathleen Kennedy, Frank Marshall, Gary Ross, and Jane Sindell for making the film possible. Characters/cast include: John Pollard (Tobey Maguire), Charles Howard (Jeff Bridges), Tom Smith (Chris Cooper), Marcela Howard (Elizabeth Banks), George Woolf (Gary Stevens), Tick Tock McLaughlin (Willliam Macy), Samuel Riddle (Eddie Jones), and Narrator (David McCullough).
Buy a ticket? Yes? No? Maybe?
Yes. This earns its place in the winner’s circle. Inspiring watch that works well for a family. Teaches an important ethical principal. Wonderful work for all involved. Thank you for a great watch.
Video Critique Available Here:
|
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https://www.alamy.com/stock-photo/seabiscuit-2003-poster.html
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res stock photography and images
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[
""
] | null |
[
"Alamy Limited"
] | null |
Find the perfect seabiscuit 2003 poster stock photo, image, vector, illustration or 360 image. Available for both RF and RM licensing.
|
en
|
Alamy
|
https://www.alamy.com/stock-photo/seabiscuit-2003-poster.html
|
Alamy and its logo are trademarks of Alamy Ltd. and are registered in certain countries. Copyright © 16/08/2024 Alamy Ltd. All rights reserved.
|
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https://www.rottentomatoes.com/m/seabiscuit
|
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|
Rotten Tomatoes
|
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[
""
] | null |
[] |
2003-07-25T00:00:00
|
In the midst of the Great Depression, a businessman (Jeff Bridges) coping with the tragic death of his son, a jockey with a history of brutal injuries (Tobey Maguire) and a down-and-out horse trainer (Chris Cooper) team up to help Seabiscuit, a temperamental, undersized racehorse. At first the horse struggles to win, but eventually Seabiscuit becomes one of the most successful thoroughbreds of all time, and inspires a nation at a time when it needs it most.
|
en
|
https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico
|
Rotten Tomatoes
|
https://www.rottentomatoes.com/m/seabiscuit
|
Let's keep in touch!
>
Sign up for the Rotten Tomatoes newsletter to get weekly updates on:
Upcoming Movies and TV shows
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Sign me up No thanks
|
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https://muradbid.com/i/1928806
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|
Item Preview: Signed Seabiscuit Movie Poster
|
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<p>Signed movie poster from the 2003 hit film Seabiscuit. Poster signed by cast members including Jeff Bridges, Chris Cooper and William H. Macy. This is from the Dallas premiere in 2003 from Universal Studios.</p><p><br></p>
|
en
|
https://muradbid.com/i/1928806
|
Signed movie poster from the 2003 hit film Seabiscuit. Poster signed by cast members including Jeff Bridges, Chris Cooper and William H. Macy. This is from the Dallas premiere in 2003 from Universal Studios.
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https://www.pluggedin.com/blog/best-movies-streaming-for-families-august-2021/
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Best Movies Streaming for Families (August 2021)
|
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] |
[] |
[] |
[
""
] | null |
[
"Bob Hoose"
] |
2021-08-10T16:05:36+00:00
|
Grab a chunk of air-conditioned space, pour yourself some icy lemonade and snuggle up to a cool screen—provided what you’re watching is cool, too.
|
en
|
Plugged In
|
https://www.pluggedin.com/blog/best-movies-streaming-for-families-august-2021/
|
Yep, it’s hot and kinda sweaty out there in the blazing summer sunshine. I mean, hey, it’s August!
Believe it or not, fall—with its cooler temps and beautiful changing colors—is just around the corner. But for right now, you might want to grab a chunk of air-conditioned space, pour yourself some icy lemonade and snuggle up to a cool screen near you—provided what you’re watching is cool, too.
So, what kind of friendly fare are the major streamers offering? Let’s see.
Netflix
Not much new on this front to recommend for the younger set, but adult viewers have a couple recently installed date-night-at-home movie possibilities.
Amazon Prime
Hulu
Disney +
|
|||||
5867
|
dbpedia
|
2
| 72
|
https://www.cinematerial.com/movies/seabiscuit-i329575/p/ofrvjx5w
|
en
|
Seabiscuit
|
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[] |
2003-07-22T00:00:00
|
Spanish movie poster image for Seabiscuit (2003). The image measures 672 * 945 pixels and is 165 kilobytes large.
|
en
|
/favicon.ico
|
https://www.cinematerial.com/movies/seabiscuit-i329575/p/ofrvjx5w
|
Explore:
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More info:
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|
|||||
5867
|
dbpedia
|
1
| 70
|
https://www.larzland.com/product-page/seabiscuit
|
en
|
Seabiscuit
|
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] |
[] |
[] |
[
""
] | null |
[] | null |
200311" x 17" Reproduction Movie Poster
|
en
|
Larzland
|
https://www.larzland.com/product-page/seabiscuit
|
13529 State Road 535 Orlando, FL 32821
OPEN 10 AM - 10 PM 7 DAYS A WEEK
13529 State Road 535
Orlando, FL 32821
OPEN 10 AM - 10 PM
7 DAYS A WEEK
|
|||||
5867
|
dbpedia
|
1
| 66
|
https://vintoz.com/products/https-silverscreengold-myshopify-com-products-tt0041923-001
|
en
|
The Story of Seabiscuit
|
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|
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] |
[] |
[] |
[
""
] | null |
[] | null |
Original Vintage Story of Seabiscuit (1949) Film Poster. First Release in Good Condition, Size: 69 x 99 cm Language: English - Rare Find, Limited Inventory
|
en
|
//vintoz.com/cdn/shop/files/Vintoz_Logo_2d679533-b4c2-4908-990b-0d9bf6857932.png?v=1617148467
|
Vintoz
|
https://vintoz.com/products/https-silverscreengold-myshopify-com-products-tt0041923-001
|
WORLD-WIDE SHIPPING & 30-DAYS RETURN: Ships to the US, UK, Europe, Hong Kong, and other countries. Wrapped in sturdy packaging this poster will arrive at your doorstep in less than 10 workings days (on average). On top of we have a generous worry-free 30-day return policy.
|
||
5867
|
dbpedia
|
2
| 64
|
https://pollycastor.com/2013/06/23/movie-review-seabiscuit/
|
en
|
Movie Review: Seabiscuit
|
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[] |
[
""
] | null |
[
"Polly Castor",
"About Polly Castor",
"Polly Castor (pollycastor.com)"
] |
2013-06-23T00:00:00
|
This movie about winning against odds I give five stars
|
en
|
Polly Castor
|
https://pollycastor.com/2013/06/23/movie-review-seabiscuit/
|
I never saw this film when it came out, but I remember it was a blockbuster at the time. Now I know why. I loved it and give it five stars, even though the critics on the DVD case only give it four.
Seabiscuit is a race horse of good pedigree, but is too small and a bit screwed up. The jockey is well educated, but is too large and has his own dysfunctions. These two are put together by a grieving businessman and a reclusive trainer. All are transformed for the better in the process and come out winners.
A worthy underdog to root for that wins, huge crowds of precisely detailed period clothing, and the fact that this was a throughly researched true story carefully reenacted in elaborate cinematography, were all appealing aspects of this movie. But what I liked the best was the message that even if there are issues, there is no reason to give up.
If you, like me, have not yet had a chance to enjoy this inspiring movie about the triumph of the human spirit, I recommend you do.
|
|||||
5867
|
dbpedia
|
3
| 28
|
https://letterboxd.com/film/seabiscuit/
|
en
|
Seabiscuit (2003)
|
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[] |
[
""
] | null |
[] | null |
True story of the undersized Depression-era racehorse whose victories lifted not only the spirits of the team behind it but also those of their nation.
|
en
|
https://letterboxd.com/film/seabiscuit/
|
¨You know, you don't throw a whole life away just 'cause he's banged up a little.¨
Seabiscuit is one of those overly sentimental feel good movies that actually works thanks to its outstanding cast, its wonderful cinematography, its emotional score, its engaging story, and a horse with a piercing glance that can melt the hardest of hearts. The horse, Seabiscuit, doesn't actually make an appearance until at least an hour into the movie, but director Gary Ross does an impressive job of setting up the characters and establishing the setting. The narration works extremely well (and believe me it usually doesn't in crowd pleasing films like this) and the tone is set very early on in the story. The characters…
I have a family portrait framed of the last day we were a family. It's one of those Old West yee-haw get ups. My mother dressed like a madame, my dad the sheriff, my sister a prostitute, and I was a bandit. My mother and sister have the biggest smiles, which for my sister was no small feat. She was on better picture-taking behavior, I suppose, because there was a professional behind the lense and not our mother. I would describe myself as trying to stay in character with a sly smolder. It was probably the first time my moustache was full and not thin and it gave me a little more confidence that had escaped me in life til…
Seabiscuit is fine for what it is, a standard early 2000s drama made with mass appeal. For a movie that clocks in at almost two and a half hour and is just about a racehorse, Seabiscuit is surprisingly not boring and occasionally very compelling. However the film is also cheesy and without much of a story to tell, so it often becomes just about business decisions and inconsequential moments in time. It also has a very patronising voiceover, used to explain basic historical context. In the film's worst moment, the voiceover tells us that public programs didn't help the poor in the 1930s, people actually just suddenly felt restored, implied to be because of these inspirational stories of men and…
Seabiscuit (2003) (#50 on AFI's List of 100 Best Inspirational Films of All Time list): 3.5 out of 5 stars - I was disappointed to read that this was only "loosely based" on a true story. That kinda ruins the some of the "inspirational" aspect of the film.
It is still a fun film. Overly dramatized, overly sappy, but still fun. The race scenes are eagerly energized and still create sweaty palms. (My palms, not the horse's palms).
While the races were exciting, the rest of the film drags a little at times. I'm sure it's to build up the drama for the races, but it's a little droopy.
The performances were decent, Jeff Bridges being the best, of course.…
|
||||||
5867
|
dbpedia
|
1
| 8
|
http://www.impawards.com/2003/seabiscuit.html
|
en
|
Seabiscuit Movie Poster (#1 of 5)
|
http://www.impawards.com/2003/thumbs/imp_seabiscuit.jpg
|
http://www.impawards.com/2003/thumbs/imp_seabiscuit.jpg
|
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[
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"movie poster",
"movie posters",
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[] | null |
High resolution official theatrical movie poster (#1 of 5) for Seabiscuit (2003). Image dimensions: 1280 x 1993. Directed by Gary Ross. Starring Jeff Bridges, David McCullough, Chris Cooper, Tobey Maguire
|
en
| null |
Want to buy the poster? Try these links:
|
||||
5867
|
dbpedia
|
3
| 12
|
https://en.wikipedia.org/wiki/Standee
|
en
|
Wikipedia
|
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2007-12-16T23:16:36+00:00
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https://en.wikipedia.org/wiki/Standee
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Cutout display used for advertising purposes
For the word "standees" being used to mean standing passengers, see Standing passenger.
A standee is an American term for a large self-standing display promoting a movie, product or event, or point-of-sale advertising, often in the form of a life-size cut-out figure. They are typically made of foam-board, and may range from large self-standing posters to elaborate three-dimensional display devices with moving parts and lights.
Standees are typically displayed in theater lobbies or music stores in advance of film or music releases.
In the movie business, the more bookings a theater makes in advance for a given film, the more likely it is to place standees in its lobby because of self-interest to spur consumer interest in its future screen offerings. Standees are also called lobby stands in the film industry. In recent years,[when?] theaters increasingly look to on-site advertising from non-movie companies as a revenue source, which creates occasional friction with film distributors; when standees for Paramount's Lara Croft Tomb Raider: The Cradle of Life incorporated a promotion for the 2003 movie's tie-in promotion with Jeep automobiles, large theater circuit Regal Cinemas sought payments from Jeep for the exposure in its theaters. Paramount reportedly shifted bookings from 47 Regal theaters to other cinemas that erected the Tomb Raider/Jeep standees without payments from Jeep.[1]
While standees have previously been available only in large quantities,[citation needed] recent advances in digital photography and print-on-demand technology have made them widely available to the public. Several companies now offer these items as party decorations, gag gifts and memorial items for the deceased. Standees can now be purchased as one-off custom products, bringing them to the average consumer as well as large corporations and venues.
History
[edit]
While mannequins have been used in advertising for fashion, the capacity to cheaply print large-sized images, especially in colour, has provided an eye-catching alternative for the advertising of other products.[2] The production of such figurines evidently stretches from early in the 20th century; they appear in a photograph dating from 1917-1925 by Jessie Tarbox Beals (see right), and others including a Santa Claus, appear lining the walls in Walker Evans' 1936 documentary image Coal Miner's House, Scott's Run, West Virginia. The term "standee" has been in use at least since 1933, when it appeared in the Motion Picture Herald.[3][4]
Especially well-known and effective internationally was the series of figurines created for a 1947 L'Oréal campaign by French advertising photographer Lucien Lorelle for which the model known only as 'Suzy B', became "Miss Ambre Solaire"; a life-size cut-out of her bikini-clad and tanned body stood at the entrance of the shops and pharmacies of French seaside resorts until the end of the 50s to advertise L'Oréal's sun tan lotion formulated in 1935.[5]
Sports
[edit]
In 2020 and 2021 due to the COVID-19 pandemic, some venues employed standees to fill seats at sporting events being conducted at reduced or no public attendance due to public health restrictions, often featuring images of fans (who could submit their photos to appear on standees in exchange for a charitable donation),[6][7] team alumni and figures, or celebrities.[8]
Two NFL teams notably used used standees of fictional characters, such as the Denver Broncos filling a portion of the stands with South Park characters as a promotion for the series (which was created by Colorado natives Trey Parker and Matt Stone, and set in a fictitious Colorado town),[9] and the Detroit Lions using standees of Animal Crossing characters during one game (as a follow-up to an Animal Crossing: New Horizons-themed video it used to unveil their 2020 schedule).[10]
Standees have occasionally been used to combat non-health related attendance issues. In 2010, Italian Serie B team Trieste was criticized for using cardboard cutouts to conceal large swathes of empty seats at its home venue, although in practice the fan silhouettes were printed on large vinyl banners rather than individually cut from cardboard.[11] In 2014, the supporters' club for J-League side Omiya Ardija dressed cardboard cutouts in their team's colors when too few of their real fans could commit to an away trip.[12]
Films
[edit]
Cardboard cutouts have been used in film to simulate or enhance crowds of extras, particularly in sports-themed productions which often require large venues to appear full.
Among notable features that used such a device were baseball films The Natural[13] and The Fan,[14][15] the hockey-themed thriller Sudden Death,[16] the American football drama Any Given Sunday,[17] or the boxing biopic Ali.[18] The long-running HBO series Arliss, whose title character was a sports agent, also used cardboard cutouts for many of its stadium scenes.[14]
Prop makers later developed inflatable anthropomorphic figures to better convey volume at different angles. They made their first recorded appearance in Seabiscuit, a horse racing film released in 2003.[15] CGI crowds have also become more prevalent.[14]
References
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https://nighthawknews.wordpress.com/2012/06/15/the-history-of-the-academy-awards-best-picture-2003/
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The History of the Academy Awards: Best Picture – 2003
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2012-06-15T00:00:00
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The 73rd annual Academy Awards, for the film year 2003. The nominations were announced on 27 January 2004 and the awards were held on February 29, 2004. Best Picture: The Lord of the Rings: The Return of the King Mystic River Lost in Translation Master and Commander: The Far Side of the World Seabiscuit Most…
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https://s1.wp.com/i/favicon.ico
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News from the San Diego Becks
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https://nighthawknews.wordpress.com/2012/06/15/the-history-of-the-academy-awards-best-picture-2003/
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The 73rd annual Academy Awards, for the film year 2003. The nominations were announced on 27 January 2004 and the awards were held on February 29, 2004.
Best Picture: The Lord of the Rings: The Return of the King
Mystic River
Lost in Translation
Master and Commander: The Far Side of the World
Seabiscuit
Most Surprising Omission: Cold Mountain
Best Eligible Film Not Nominated: City of God
Best Eligible English-Language Film Not Nominated: In America
Rank (out of 84) Among Best Picture Years: #4
The Race: There was never any doubt what was going to win Best Picture. It had been building since the first teaser for the trilogy debuted in April of 2000. With Best Picture nominations (but not wins) for both Fellowship of the Ring and Two Towers, no one with even meager interest in the Academy Awards was going to be betting against Return of the King. All that remained were how many Oscars it would end up winning and what four films would have the honor of getting nominated.
That race began in earnest in the middle of the summer when Seabiscuit was released. The second film from Gary Ross, who had been Oscar-nominated for writing Dave, it was the true story of a champion horse who drew huge popular support during the Depression. With a solid ensemble cast (Tobey Maguire, Jeff Bridges, Chris Cooper, William H. Macy), it earned excellent reviews. Though not a runaway box office hit like Finding Nemo or Pirates of the Caribbean, it drew strong adult crowds and had much wider Oscar hopes (Nemo was considered a shoe-in for Best Animated Film but was unlikely to make the Picture lineup and Pirates seemed likely for technical Oscars though the critics were busy with praise for Johnny Depp’s performance). By Labor Day, Seabiscuit had taken in over $100 million, and as long as it wasn’t forgotten, seemed a likely Best Picture nominee.
Then in September came Lost in Translation. It was the second film from Sofia Coppola. The daughter of Francis, she had turned to writing and directing with The Virgin Suicides, a 2000 film that had earned strong reviews but no awards attention. But her new film, starring Bill Murray, earned incredible reviews from the minute the critics got hold of it. Murray’s performance was especially lauded as the best of his career, but so were Coppola’s script and direction and through the month of September, it used a platform opening to bring in more crowds as it expanded each weekend.
But in October came another film that threatened Murray’s Oscar chances and even seemed like it might contend with Return of the King for Best Picture. It was Mystic River, a new murder mystery from Clint Eastwood. It was bringing Eastwood his best reviews since his Oscar-winning Unforgiven and Sean Penn’s performance as the distraught father of a murdered young woman had been earning strong buzz since the film played Cannes in May. After one week of limited release, it leapt into the box office fray against new films from two Oscar winning writer-directors: The Coens and Quentin Tarantino. Luckily for Coppola and Eastwood, the other two films weren’t exactly Oscar fare; the Coens’ film, Intolerable Cruelty, was a screwball comedy starring George Clooney, who had yet to win over Oscar voters and Tarantino’s brutal revenge fantasy, Kill Bill, was only the first volume of a film that was too long and had been split into two films, with the second part not arriving until February.
By the time the first group of critics were ready to vote, only one more likely Oscar contender had hit wide release. Peter Weir’s Master and Commander, made from two of Patrick O’Brian’s popular novels had the disadvantage of Russell Crowe, still dealing with fallout from his antics in his personal life, but also had Crowe’s performance anchoring a film that felt like a David Lean epic. It opened in mid-November to strong reviews and strong box office in the midst of a release calender that was putting it up against The Cat in the Hat, Matrix Revolutions and Elf.
The National Board of Review started the awards year by giving Best Picture to Mystic River. Their Best Director award went to Ed Zwick for The Last Samurai, a Tom Cruise action epic that had not yet opened and its Top 10 list included the expected Oscar contenders (Seabiscuit, Lost in Translation, Mystic River, Master and Commander), a film from a previously nominated director now in limited release and getting strong reviews (In America, from Jim Sheridan, who had earned Oscar nominations for My Left Foot and In the Name of the Father) and one film that was the most anticipated release not set in Middle-Earth: Cold Mountain. Cold Mountain had the Oscar check-list covered: epic scale, award-winning source novel, Oscar-winning writer / director (Anthony Minghella), Oscar-winning star (Nicole Kidman), Oscar bait role for an overdue for an Oscar star (Renee Zellweger) and a hot new leading man already known to Oscar voters (Jude Law). The expectation was that it would rival King for the most nominations.
The New York Film Critics confirmed the Oscar status of Return of the King (Best Picture) and Lost in Translation (Best Director and Actor). But the LA Film Critics and National Society of Film Critics only added some confusion. Though Eastwood won from the NSFC and Jackson in LA, their choices for Best Picture were a small independent film unlikely to be in the Oscar discussion for Best Picture – American Splendor, based on the long-time comic by Harvey Pekar.
While The Last Samurai opened to solid reviews, the next contender also arrived: Tim Burton’s Big Fish. Mixing Burton’s blend of comedy and adult entertainment, it was seen as Burton’s first real shot at making the Oscar line-up. Big Fish immediately benefited from 4 Golden Globe nominations and appeared to be the only film capable of challenging Lost in Translation for Best Picture – Comedy. But the biggest boosts went to Lost in Translation (the big 5 nominations), Return of the King (only 4 noms, but Picture and Director included), Mystic River (5 noms, including Picture, Director and Screenplay) and Master and Commander (only 3 noms, but Picture and Director included). But the biggest boost of all was for Cold Mountain, which still hadn’t been released, but lead all films with 8 Globe nominations. But nothing was settled by the Critics Choice, which had all the major contenders in their Best Picture lineup: Return of the King, Lost in Translation, Mystic River, Master and Commander, Seabiscuit, Cold Mountain, The Last Samurai, Big Fish, Finding Nemo and In America.
But, the big worry was about Cold Mountain‘s release date. The Oscars had shifted the date of the awards up a month. While King was a solid bet, Cold Mountain was sticking to the old Christmas release date for Oscar nominations and some began to wonder if the date shift would hurt the film. While Cold Mountain had the bulk of the Miramax marketing machine and lead the pack in Globe nominations, when the Globe awards were announced it only had one win (Supporting Actress), with Return of the King and Lost in Translation taking the major awards. Then came the Directors Guild nominees. Widely expected to get nominations were Jackson, Eastwood, Coppola, Weir and Minghella. But suddenly, there was Gary Ross in the race rather than Minghella. The Producers Guild and Writers Guild added nominations for Cold Mountain, but it suddenly was beginning to look like there were six films for five spots. With Mystic River and Lost in Translation all but assured spots, this left Seabiscuit (which also had PGA and WGA noms), Cold Mountain and Master and Commander vying for two spots. The BAFTA nominations suddenly pushed Cold Mountain right back into the heart of the race; its 14 nominations lead the way. But King (12 noms), Lost (8 noms, including the big 5) and Master (8 noms, including Picture and Director) had also done well. Headed into the Oscar nominations, it remained to be seen whether the summer film would be forgotten or the Christmas film would be unable to get enough people into theaters to earn a nomination.
my own predictions: I figured that the Globe and BAFTA nominations, combined with Miramax would put Cold Mountain in the race, though no longer with a chance to end up with the most nominations. I had King with 13 noms, followed by Cold Mountain with probably 9 or 10 noms (including Picture and Director), Mystic River with 6 or 7, Lost in Translation with 4 or 5 (depending on Actress) and possibly Seabiscuit taking the Picture spot and Weir taking the director spot rather than Ross.
The Results: Cold Mountain and Seabiscuit both had 7 nominations with 2 major nominations each. But Cold Mountain‘s were acting and Seabiscuit was in the Picture race against Master and Commander (10 noms, including Director), Lost in Translation (only 4, but all major) and Mystic River (6 – all major). Return of the King had indeed lead the way – with 11 nominations. The only question that remained was whether King would actually lose any of its races.
The answer very quickly became no. And then Steven Spielberg came out and opened the envelope and said “It’s a sweep.” Return of the King had tied Ben-Hur and Titanic with 11 Oscars and the series was over – 30 total nominations and 17 Oscars.
end note: Go here for a great reaction to Oscar night. Normally I would just post this comic, but when I talked to John Kovalic, he asked me to link to any comics. Always glad to comply with the request of someone who always makes me laugh.
The Lord of the Rings: The Return of the King
Director: Peter Jackson
Writer: Peter Jackson / Fran Walsh / Philippa Boyens (from the novel by J.R.R. Tolkien)
Producer: Peter Jackson / Fran Walsh / Barrie M. Osborne
Studio: New Line
Stars: Viggo Mortenson, Elijah Wood, Sean Astin, Ian McKellen, Andy Serkis, Miranda Otto
Oscar Nominations: Picture, Director, Screenplay Adapted From Another Medium, Editing, Original Score, Sound, Art Direction, Visual Effects, Costume Design, Makeup, Original Song (“Into the West”)
Oscar Points: 560
Oscar Records: Most Wins – tied (11)
Length: 201 min / 251 min
Genre: Fantasy (Epic)
MPAA Rating: PG-13
Box Office Gross: $377.02 mil (#1 – 2003)
Release Date: 17 December 2003
Metacritic Score: 94
Ebert Rating: ***.5
My Rating: ****
My Rank: #1 (year) / #12 (nominees) / #3 (winners)
Nighthawk Nominations: Picture, Director, Adapted Screenplay, Actor (Wood), Actor (Mortenson), Supporting Actor (Astin), Supporting Actor (Serkis), Supporting Actress (Otto), Editing, Cinematography, Original Score, Sound, Art Direction, Visual Effects, Sound Editing, Costume Design, Makeup, Original Song (“Home is Behind”), Original Song (“Into the West”)
Nighthawk Points: 840
Nighthawk Records: Most Points (840)
First Watched: opening day with Veronica at the Century Eastport
The Film: Let’s get the first thing out of the way. This film does not have 10 endings. You can make the argument that it has three – and even if you want to make that argument and complain about it, it means you haven’t read the book. Because if you have, it’s absurd to complain that the film should end with the destruction of the ring and dumb to complain that the film doesn’t end with the coronation. The film ends exactly where it should end, exactly how it should end, with tears and a journey, with those simple words, “I’m back.”
But now then, what about the film itself? After all, it is a film that is clearly appreciated on all levels: winning 11 Oscars in a sweep, becoming only the second film to break $1 billion at the box office, achieving near universal critical acclaim. And I would argue that on some levels it is even under-appreciated. I saw the film 10 times in the theaters (the second most for me behind the original Star Wars), yet it still made significantly less money than Titanic. And it won 11 Oscars, but it wins 13 Nighthawk Awards (10 of the same – only missing out on Song, but adding Supporting Actor, Cinematography and Sound Editing) and earns 19 Nighthawk nominations (most notably, five for acting, which was missing in its accolades almost everywhere except the SAG Ensemble Award). Some of these awards are easy – look at the costumes, the makeup, the sets, listen to the sound of the film. But then look closer. Watch the epic battle scenes and you’ll understand the award for the effects. But look at other shots, that make it so clear why it won that and why it deserved the award for Cinematography. Watch the shot that begins miles above Minas Tirith, following the Nazgúl on their flight down upon the men of Gondor. Or listen to the sweep of the score when the camera follows across the White Mountains, with each beacon lit ever further on the horizon. And the beacons scene represent another Oscar – the brilliance of how the three of them – Jackson, Walsh and Boyens – changed what scenes they needed to, adapting the novel to the power of the screen. In the book, the beacons are a warning, not a desperate call to Rohan for aid. But they wisely excise the red arrow and instead give us a scene that immediately earns a place in film history for the sheer force of its majesty.
But what about the Editing? So many complain that I always talk about the Editing when a film is too long. But remember – a film is only as long as it feels. I could have easily watched another hour of King and never gotten tired of it. And watch the editing in scenes like Faramir’s approach to Osgiliath, juxtaposed against Pippen’s haunting song (brilliantly put to music by Billy Boyd himself). Watch how expertly the story moves between the various characters in their different locations before finally bringing them all together again.
But the key to the film is the acting. This would not earn its place in film history without the amazing ensemble cast. Watch Frodo’s eyes when he tells Sam to go home (another brilliant departure from the book – it heightens the sense of danger when Frodo is in Shelob’s lair), look at the heartbroken Sam when he realizes what he is being asked. But it’s not just the main characters. There is real fear in Eowyn and Merry’s eyes as they prepare to ride into battle. There is a desperate sense of loss in Billy Boyd’s face when he finishes his song. When Faramir makes the decision and says “Tell the men to break cover. We ride for Minas Tirith.” we can hear the desperation in his voice. Or we can look at one scene, one of my favorite in the film. In the book, Faramir tells his father of the failure of his mission, and then, slowly, turns to other matters. “Gandalf sat up and gripped the arms of his chair; but he said nothing, and with a look stopped the exclamation on Pippen’s lips.” But in the film, Faramir’s eyes go wide when he sees Pippen and Gandalf immediately knows. There is wonder in Faramir’s eyes, and when Pippen says “You’ve seen Frodo and Sam!” there is sheer delight in his voice.
But all of the action, all of the epic scope of the film, pales in comparison with Frodo’s mission. And here is the beating heart of the film. His friends will throw themselves into the darkness, face death, for the sake of aiding him. And yet, in the end, even Frodo’s strength fails and he requires assistance unasked for and unexpected. Even the wise cannot see all ends, as Gandalf has said. And yet, with the destruction of the ring, not all is over in the film. Because part of what is so important here is that Frodo sets out to save the Shire, and it has been saved, but not for him. So we need that final scene, the real ending of the film, on the shores of Middle Earth, those cleansing tears, not evil ones. We need to know that Frodo cannot be healed of all the evils that he has endured and it is for Sam, and Sam alone to walk home and utters those final words. And we get that last little beautiful speech before we reach the real end: “My dear Sam. You cannot always be torn in two. You will have to be one and whole for many years. You have so much to enjoy and to be and to do. Your part in the story will go on.”
Mystic River
Director: Clint Eastwood
Writer: Brian Helgeland (from the novel by Dennis Lehane)
Producer: Robert Lorenz / Judie Hoyt / Clint Eastwood
Studio: Warner Bros.
Stars: Sean Penn, Tim Robbins, Kevin Bacon, Marcia Gay Harden, Laura Linney, Laurence Fishburne
Oscar Nominations: Picture, Director, Screenplay Adapted From Another Medium, Actor (Penn), Supporting Actor (Robbins), Supporting Actress (Harden)
Oscar Points: 295
Length: 138 min
Genre: Mystery
MPAA Rating: R
Box Office Gross: $90.13 mil (#33 – 2003)
Release Date: 8 October 2003
Metacritic Score: 84
Ebert Rating: ****
My Rating: ****
My Rank: #2 (year) / #51 (nominees)
Nighthawk Nominations: Picture, Director, Adapted Screenplay, Actor (Penn), Supporting Actor (Robbins), Supporting Actress (Harden), Editing, Cinematography
Nighthawk Points: 280
First Watched: opening day at the Century Eastport with Veronica
The Film: “I’m trying not to move / It’s just your ghost passing through.” The Tori Amos song which this line comes from (“Putting the Damage On”) is not featured in Mystic River, but it says so much about the film. Because there are ghosts running through this film, passing through the adults who are trying to put the ghosts behind them. It is a stark reminder of the brutal core of violence that lives just below the surface in Boston, struggling to break through to the surface. The three main characters in this novel, scarred by childhood, seem to be three different approaches to this core.
First, there is Sean Penn. He own a liquor store and his daughter, in the opening of the film, is brutally murdered. Scarred by the childhood incident he barely avoided and haunted by Catholic guilt and his own violent past, he understands that this is a reflection of his life (“I know in my soul I contributed to your death.”) and he finds himself struggling to cry for her. Penn’s performance, an incredible barely contained explosive device, sets in motion the rest of the cast. They can all play off him, off his desperation at reigning in the violence. He has embraced the violence in the past, and he will do so again before the film is over.
Next is Kevin Bacon. In one of the best performances of this consummate character actor, he walks back into the streets where he played, the same streets that he escaped from. He is incapable of communicating with his wife, but he finds purpose in his work. As a statie, he works to contain the violence, not just his own, but all the random violence in the world around him. He searches for his truth and he know that violence is at the core of the truth and he just hopes to keep it from causing more damage, either to himself, or to others.
Then there is Tim Robbins. When evil comes calling in their childhood, it is he who is brutalized. It is not the everyday violence, the brutality of the Boston streets that does him in – that same violence which Penn unleashes and Bacon works against, is nothing compared to the violence done to Robbins’ soul. More than the others, he has the ghost passing through, the ghost of who he was, long ago, before he got in the back of that car. And he finds himself in a situation where the violence crumbles all his defenses, but with so much damage already done to his soul, is incapable of explaining it to anyone.
All three men are married. But the statie has managed to push his wife away and the violent breakage of Robbins’ soul pushes his wife away at the one point where he desperately needs her closer. It is only Penn, who finds in his wife, a soul who understands the violence at the heart of his (delivered magnificently in a dark, disturbing speech by Laura Linney that can only be compared to Lady MacBeth), who finds a soulmate that truly works for him.
There is more to the film than this. There is the way the editing never allows you to lose track of the three stories and how they intersect and the amazing shots over Boston. There is the great ensemble cast – Harden as Robbins’ wife, Fishburne as Bacon’s partner. But at the heart what we have is maybe the best film ever made by one of America’s best directors, a dark disturbing tale that understands so well the violence at the heart of my city.
Lost in Translation
Director: Sofia Coppola
Writer: Sofia Coppola
Producer: Ross Katz / Sofia Coppola
Studio: Focus
Stars: Bill Murray, Scarlett Johansson, Giovanni Ribisi
Oscar Nominations: Picture, Director, Original Screenplay, Actor (Murray)
Oscar Points: 210
Length: 103 min
Genre: Comedy
MPAA Rating: R
Box Office Gross: $44.58 mil (#67 – 2003)
Release Date: 12 September 2003
Metacritic Score: 89
Ebert Rating: ****
My Rating: ****
My Rank: #3 (year) / #89 (nominees)
Nighthawk Nominations: Picture, Director, Original Screenplay, Actor (Murray), Actress (Johansson), Editing
Nighthawk Points: 305
First Watched: opening day at the FOX Tower with Tavis
The Film: “It is a great relief in any event that The Station Agent is not one of those movies in which the problem is that the characters have not slept with each other and the solution is that they do.” (Roger Ebert)
Ebert, obviously, is not talking about Lost in Translation but he easily could have been. It is a good insight about a great film and which bears repeating here because it is just as applicable. What makes this film great, what makes the relationship formed in this film between a depressed actor and a lonely young woman still trying to figure out what she is going to do is not about sex. It is about the loneliness that can be inherent in humanity and finding something to beat it away with.
Even a forgettable film can teach you something sometimes. When I was in a relationship that began in London and didn’t survive the transition back to my life in Portland, I was reminded of Forget Paris, and that a relationship started away from home, when everything is different, often has trouble dealing with the mundane aspects of regular life. But this film, developing along a parallel theme, has so much more to say than that. But that’s part of what makes this a great film and not a forgettable one. And yet, it is, at heart, some of the same message. When you are away from home, when things are strange and you feel lost, you can find a language to speak with someone else who feels what you are feeling. That’s what develops here.
Now, that could easily be the set-up for a dumb romantic comedy, and in Forget Paris and a whole slew of other films, that’s exactly what happens. But there are several things that set Lost in Translation apart. First, it isn’t a romantic comedy. It is a comedy and it does involve two people who could become involved, but romance is not what draws them together. What develops instead is so much more interesting than a tumble in the hay would have been. They find something in friendship that pushes the loneliness away from them, at least for a little while. Second, there are the performances. Bill Murray so underplays this role that it’s amazing – a career best from someone who has long been vastly under-rated actor. But then there is the incredible performance from Scarlett Johansson, and we may never see the like of it again in her career, so we should be grateful for this one. Third, there is the ending.
We react to films for our own reasons. We bring as much to a film as we take away sometimes. And the closing minutes of a film, that last little taste of it, can make the whole thing rise or crumble away into nothingness. So, I take into Lost in Translation a story called “Nightlights.” I set it up as a sequel to another story I had written and was sending it out to friends as an e-mail serial. Everyone reading it was convinced that the main two characters would sleep together at some point. But they hadn’t paid attention to the Bob Dylan quote that had been presented as an epigraph in the first installment: “One more time at midnight near the wall / Take off your heavy makeup and your shawl / Won’t you descend from the throne from where you sit / Let me feel your love one more time before I abandon it.” It was always intended that there would a scene, set against the setting sun, him saying goodbye, knowing she was going off to marry someone else, and they would kiss and that would be the end of it. Nothing more. A bittersweet kiss and she is gone. And that was what I brought to this film. It felt like the ending I would have written.
But for one thing, which was more brilliant than I could have imagined. The whisper in the ear of the young woman. The whisper that we don’t hear, that we aren’t allowed to hear, that we were never intended to hear. And it doesn’t matter what you think he says. It doesn’t matter what I think he says (I don’t think about it). It’s that he whispers it and she smiles and she cries and they share that kiss and he walks away and everything will be okay. And then comes the music, that amazing song, and the drift away into the traffic and the darkness and the credits and this film ends exactly where it should end, in perfection.
Master and Commander: The Far Side of the World
Director: Peter Weir
Writer: Peter Weir / John Collee (from the novels by Patrick O’Brian)
Producer: Samuel Goldwyn, Jr. / Peter Weir / Duncan Henderson
Studio: 20th Century Fox
Stars: Russell Crowe, Paul Bettany
Oscar Nominations: Picture, Director, Editing, Cinematography, Sound, Art Direction, Visual Effects, Sound Effects Editing, Costume Design, Makeup
Oscar Points: 305
Length: 138 min
Genre: Adventure (Epic)
MPAA Rating: PG-13
Box Office Gross: $93.92 mil (#31 – 2003)
Release Date: 14 November 2003
Metacritic Score: 81
Ebert Rating: ****
My Rating: ****
My Rank: #6 (year) / #154 (nominees)
Nighthawk Nominations: Adapted Screenplay, Cinematography, Sound, Art Direction, Visual Effects, Sound Editing, Costume Design, Makeup
Nighthawk Points: 170
First Watched: opening week at the Century Eastport
The Film: Is this the epic that David Lean never made? Lean spent years trying to get a version of Mutiny on the Bounty made and it never happened. But this film – with it’s epic scale at sea, with its magnificent battles (it feels like the film is full of them, when there really is only the one at the beginning and the one at the end), set against the human backdrop is a reminder of the best of David Lean. In some ways, it is the humanity at the core of Peter Weir’s career that makes this feel less like an epic. It’s not that Weir can’t do things on the grand scale – look at Gallipoli for a perfect example. But he’s more interested in human interaction, even in Gallipoli, but especially in films like Witness, Dead Poets Society and The Truman Show. And in a film like Picnic at Hanging Rock, we can see the deadly divide between nature and humanity and how one can overwhelm the other and we can find ourselves lost in the nothingness surrounding us.
Look at the captain and the doctor. Look at the way they interact with each other. They play together (literally – their instruments bringing beautiful music to the heart of the sea, and it never feels like a quirk of the writing, but rather something natural springing from the core of their characters). They work together. And they seem like soulmates. Since the 1950’s, thanks partially to Fredric Wertham, there seems to have been this pervasive belief that friendships like this must imply homosexuality. Batman and Robin, Bert and Ernie, Frodo and Sam, all of them must have homosexual subtext according to some. But to others, there is nothing of sexuality about it – simply a close kinship between two friends with so much in common. And for this captain and doctor, both of them smart, both of them gifted, both of them in these pressure situations, knowing that one wrong move can mean death, for themselves, for others, there is a bond. It is this kind of friendship that can lead to the arguments they have – the arguments over the importance of science or war. But it lends extra emotion to a line “We do not have time for your damned hobbies, sir!” It reminds us of the bond between these two men. And when the doctor will turn his back and hurry across the island, not for king and country, but for his friend, we can understand.
That is why the story never allows the film to get lost in the epic. But, oh, the epic is magnificent. We get a sailing adventure like we haven’t had for decades, reminding us of how bad the 1962 Mutiny on the Bounty was and how great the 1935 film was. We get a magnificent battle to open the film, the sudden surprise, the desperate fight against death. Then we get the storm going around the cape, and another desperate fight against death, this time against nature itself. And there is human loss both times, and we feel that loss.
It is perhaps the epic scope of the film that allowed on thing to be lost. Not a single group – not the WGA or the Oscars or the BAFTAs – thought the script was worth nominating. Yet, it is clear that it is in the script, in the interaction between the characters that this film really comes alive. So, when the captain (played in a rather excellent performance by Russell Crowe) says to the doctor (in a very good performance by Paul Bettany – so much better than his man who wasn’t there in A Beautiful Mind), “The bird’s flightless?”, we can all smile. For we have seen the humanity in their interactions and we can appreciate the smile when the captain ends the film with the great line: “It’s not going anywhere.”
Seabiscuit
Director: Gary Ross
Writer: Gary Ross (from the book by Laura Hillebrand)
Producer: Kathleen Kennedy / Frank Marshall / Gary Ross
Studio: Universal
Stars: Tobey Maguire, Jeff Bridges, Chris Cooper, William H. Macy
Oscar Nominations: Picture, Adapted Screenplay, Editing, Cinematography, Sound, Art Direction, Costume Design
Oscar Points: 195
Length: 140 min
Genre: Drama (Sports)
MPAA Rating: PG-13
Box Office Gross: $120.27 mil (#17 – 2003)
Release Date: 25 July 2003
Metacritic Score: 72
Ebert Rating: ***.5
My Rating: ***
My Rank: #59 (year) / #362 (nominees)
Nighthawk Nominations: none
First Watched: on video
The Film: I would say that this is kind of ridiculous – an old-fashioned film that seems more like an anachronism than a throwback. But then Spielberg himself would do it eight years later and also find himself in the Best Picture race. So does that say something better or worse about Seabiscuit? Well, given that War Horse doesn’t have the kind of supporting performances that Seabiscuit has from the likes of Jeff Bridges, Chris Cooper and William H. Macy and is still a far superior film says something worse about Seabiscuit. And of course, there is my own issues here. Because after all, I’m gonna say the same thing that I said before I saw it the first time (why I didn’t see it in the theater) and and what I said again up re-watching it (before I saw War Horse). It’s still a movie about a flippin horse.
Now, that being said, how good a movie about a flippin horse is it? Well, it’s really a pretty standard Hollywood movie. If you’re talking about the Hollywood of 1935. Except in 1935 this movie would have been a half hour shorter. True, there were lots of films back then that would drag on forever (just look at The Great Ziegfeld). But, in an era where they could make Mutiny on the Bounty in 132 minutes and keep Les Miserables under 2 hours, there’s no way they would have padded Seabiscuit the way it is. There are those who would say that the film is this long because it gives the necessary character development, to allow the story to develop over time. But let’s get this straight – there actually isn’t much character development in the film. Are any of the human characters appreciably different at the end of the film than they were at the beginning of the film? This isn’t about how they developed – it’s about this horse touched their lives. That’s not to say that the actors don’t do as much with these characters as they can. In fact, the biggest problem with Seabiscuit‘s acting Oscar hopes was figuring out which actor really deserved the attention, because they form a strong ensemble.
But all of this distracts from the bigger issue of the film. I just can’t bring myself to care that much about it. You could say that the fault is with me – that I had no interest going in and I came out the other end the same way. But that’s not necessarily the problem. I don’t care about boxing, in fact I actively dislike it, but a film like Raging Bull or a documentary like When We Were Kings can absolutely suck me in. I constantly deride soccer, but I was riveted by The Damned United. I might have cared more about the film if they had actually focused more on the horse, kept it shorter, and stopped trying so hard to make me care about all the people who care about the horse.
Seabiscuit is a well-made film. The direction is solid, the sounds of the film keep you involved and it always looks good. But between the script and the editing, I just couldn’t keep myself caring about what was going to happen – especially since we all knew what was going to happen. Not because we knew the history (as much as they want to make this the big story of the Depression, the story seemed to have mostly been forgotten before the book became such a big seller), but because this is Hollywood. Do we really think they’re going to make a film about a horse that breaks a leg and is simply put out to pasture or shot?
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Seabiscuit Original 2003 U.S. One Sheet Movie Poster
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Original 2003 U.S. one sheet poster for the film Seabiscuit directed by Gary Ross with David McCullough / Jeff Bridges / Paul Vincent O'Connor / Chris Cooper.
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Seabiscuit
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British movie poster image for Seabiscuit (2003). The image measures 375 * 500 pixels and is 55 kilobytes large.
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https://www.cinematerial.com/movies/seabiscuit-i329575/p/igjhk4cl
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‘SEABISCUIT’ TAKES THE CAKE
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2021-11-30T23:59:11+11:00
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Suzy Jarratt takes us behind the scenes of Seabiscuit, the 2003 hit movie about a stubborn and rebellious loser who won over the hearts of Americans during the Great Depression of the 1930s.
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Equestrian Life - Australia`s best equine magazine
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https://eqlifemag.com.au/issues/73/seabiscuit-takes-the-cake
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Based on Laura Hillenbrand’s 2001 book Seabiscuit, An American Legend, the 2003 film was directed by Gary Ross (The Hunger Games) and starred Tobey Maguire as Seabiscuit’s jockey Johnny “Red” Pollard, Chris Cooper as trainer Tom Smith and Jeff Bridges as owner Charles Howard.
Seabiscuit, a blood-bay, was well bred but had none of the physical attributes of those in his ancestral lineage. He had a thin, wispy tail, his legs were short, he walked in an odd way, ran with a flailing, eggbeater-action and would sleep for long stretches at a time. Yet on a momentous afternoon in November 1938, he beat Triple Crown winner War Admiral by four lengths on a Pimlico racetrack in Baltimore and was voted American Horse of the Year.
Fifty years earlier The Story of Seabiscuit had been made by Warner Brothers starring Shirley Temple speaking in a terrible Irish accent. Dismissed by most critics as historically inaccurate, poorly acted and predictable, the film’s equine actors were also second-rate. The director had to resort to archival news footage to depict the racing sequences.
For the 2003 film made by Universal Studios, the selection of horses was a mammoth task for Rusty Hendrickson, an experienced wrangler whose credits include The Patriot, Dances With Wolves, The Horse Whisperer and, more recently, Tarantino pictures The Hateful Eight and Django Unchained.
Forty horses were initially selected from around America aged between three and seven. Most were Thoroughbreds, plus several Quarter Horses and a solid-coloured Appaloosa. None of the Thoroughbreds had been winners. “A good movie horse is different from a great racehorse,” said Hendrickson.
Six weeks before filming all the candidates were taught to follow the camera car by working alongside a pick-up truck; they were encouraged to stand for long periods of time in the starting gates and tolerate overhead microphones. As the weeks went by, one small Thoroughbred named Fighting Furrari emerged as the star.
“He resembled the real Seabiscuit,” recalled Hendrickson, “and had a good temperament which made him ideal for Tobey Maguire who could handle him confidently.” Several years before he had taught the actor on Ride with the Devil, a western directed by Ang Lee.
But riding like a jockey is something else again – enter the Equicizer. Director Ross explained that during much of the film Maguire was mounted on this device, although he had taken lessons in how to crouch down during a race by Chris McCarron. This leading American jockey worked as technical advisor and also acted in the movie.
Maguire admitted that he was sitting on it for all his close-ups. “It was attached to a flatbed truck,” he said. “We’d cruise around the track at 35mph (56km/h) moving forward and backward and side to side. I’d be on the balls of my feet standing for a minute and ‘driving’ the horse. And it’s not me in any of the races where there are bumping sequences.”
During pre-production, Ross had been at the Santa Anita racetrack and came upon a mechanical horse. “I saw it when I was passing through the jockeys’ room. It was spring-loaded to duplicate the exact motion of riding, and I figured that if I could mechanise one and put it on a truck with a camera platform I could drive Tobey around the track and shoot him with the grandstand and the crowd whizzing by. I’d be able to get the camera right next to his face and it would be a totally safe environment.”
He had it built and it worked, however, Tobey still found it demanding: “I didn’t realise what kind of athletes jockeys were. The first time I got up in the stirrups and did a bit of a gallop on the Equicizer, after a couple of minutes my legs were noodles. I could barely stand up.”
For the film’s other leading players their riding scenes were less complicated. Both Bridges and Cooper were reasonably experienced and nothing they had to do was particularly challenging.
“I’ve been around horses most of my life,” said Bridges. “Dad (Lloyd Bridges) had taught me to ride a long time ago. I used to love it when he made a western ’cause he’d come home in cowboy garb. Having to ride in Seabiscuit was great.”
As a young man Cooper had lived and worked on a ranch and raised cattle. “It was a great life when you’re a young kid; for me it was either going to be acting or ranching. And acting won out!” He fondly recalls the film’s opening scenes where he is preparing to round up a mob of mustangs.
“It was just a beautiful set-up and a beautiful introduction to my character. I was very proud of that film and it was great working with Jeff, he’s a good man.”
In that scene he takes six horses across the open range and attempts to lasso one of them. It was a stuntman doing the lassoing and that action took place in a contained area. The rope was immediately released before any tension was applied.
In another sequence, Charles (Jeff Bridges) mounts his horse and goes for a ride with his friend Marcella (Elizabeth Banks), who is also a skilled rider. The actors were only on the horses for a brief time, leaving most of the riding to the professionals.
Never believe everything you see on the screen or hear from a movie star!
A total of 10 horses shared the title role, each one displaying a distinct characteristic of the little bay stallion. Gravy, who was trained to rear and paw, played the disgruntled Seabiscuit. Muffin was the lazy one who had all the sleeping scenes, and Fighting Furrari was selected for the racing sequences. All were Thoroughbreds except for a trick Quarter Horse owned by Hendrickson. Triple Digit Cash specialised in “mouth work” and it is him the audience is seeing when Seabiscuit rips the silks off a rival jockey.
All the film’s racing footage was shot on actual racetracks but the horses were never made to run more than three furlongs per take. And because they had to be constantly trucked to and from various locations their weight was carefully maintained with alfalfa (lucerne) hay and beet pulp. Veterinarians and farriers were on site and teams of expert grooms and handlers cared for them around-the-clock.
None were harmed during the making of the picture and all were rehomed at the end of filming. Only one of the Thoroughbreds returned to racing “but didn’t do very well”, recalled Hendrickson. And technical advisor McCarron bought one as a show horse prospect for his daughter.
Fighting Furrari, the movie’s major galloping horse, was relocated in 2019 to a foundation in Half Moon Bay, California, specialising in equine-assisted programs for children with autism. Prior to his move, the 21-year-old had been Santa Anita Park’s mascot where on weekends he was tacked up in authentic Seabiscuit attire and led around a holding yard where his handler would address the public, answer questions, and allow people to pat him and watch him do tricks.
Director Gary Ross came away from Seabiscuit with a renewed admiration for horses and the people who ride them. “This was a story I really wanted to tell,” he declared at one of many press conferences, “and to do it we had to honour the history while translating it to film. It was a huge task — a story that spans years and comes to embody a nation during a particular time. But I’m very proud of it and I think we’ve managed to convey it all on the screen.” The picture did well at the box office and to date has made almost $150 million.
The real Seabiscuit retired from racing in 1940. He lived at a ranch in Willits, California, and only sired 108 foals of which just two were moderately successful on the track. He was used by workers for pleasure riding and checking cattle. During his time at the ranch he received over 50,000 visitors. He died in 1947 of a suspected heart attack a few days before turning 14.
In the next edition of Horses and Movies, Troy (2004), starring Brad Pitt, Eric Bana and Orlando Bloom. EQ
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https://www.nytimes.com/2003/09/15/readersopinions/current-movies-posters-review-lost-in-translation.html
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Current Movies: Posters Review 'Lost in Translation'
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"The New York Times"
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2003-09-15T00:00:00
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Two longtime participants in the Current Movies forum get offline to attend, and then back online to review, Sofia Coppola's second film together.
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/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico
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https://www.nytimes.com/2003/09/15/readersopinions/current-movies-posters-review-lost-in-translation.html
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Roderick D. Heath and Marilyn Ferdinand, two longtime participants in the Current Movies forum , got offline to see Sofia Coppola's second movie together. They then got back online to write reviews in tandem. The posters found the movie's lead actors, Bill Murray and Scarlett Johansson, to make an emotionally rewarding couple.
Mr. Heath, visiting Ms. Ferdinand in Chicago from Australia, posted his review first:
Coming to the end of my long stay in the U.S., I think back on the first-run films I have seen in the course of my visit and see that they are a mixed and often excellent bunch. "Seabiscuit," "The Magdalene Sisters," "Dirty Pretty Things," "The Swimming Pool," "Lawless Heart," "The Holy Land," even the silly fun stuff, "Identity," "The League of Extraordinary Gentlemen" and "Pirates of the Caribbean," have provided much entertainment and prove that current cinema is indeed far from moribund.
It’s perhaps fitting that the best was saved for last; Sofia Coppola’s "Lost in Translation" is a wry, haunted, deceptively plain tale of love and bewilderment. It ranks with "Lawless Heart" as the best film I’ve seen yet this year - perhaps better; I can only rely on how it lingers to tell - to which it has distinct similarities, especially in that film’s first "episode."
The title is an excellent shorthand description for both the real and metaphoric, comic and tragic elements of the film. Bob Harris (Bill Murray) is an aging, washed-up movie star who has signed a lucrative $2 million advertising deal to flog Suntory Whiskey in Japan. He makes a nocturnal entrance into the over-lit neon prison of Tokyo in the back of a taxi, and finds himself confronted by massive billboards reflecting his own crumpled, vaguely pathetic visage back at himself. Of course, it’s only to himself that he’s pathetic; everyone else dotes on him as The Movie Star.
Simultaneously, young bride Charlotte (Scarlett Johansson) and her publicity photographer husband John (Giovanni Ribisi) check into the same hotel, the Park Hyatt, a massive shining trap with towering views upon the city. Upon this masthead Bob and Charlotte are swaying in emotional and physical disconnection from the world, emphasized by the difficulties of finding one’s way around a foreign cacophonous city where few of the people who aren’t interested in your money can speak your language.
Bob is a veteran of 20-plus-year marriage to Lydia with whom he has brief, frustrating phone conversations, who sends him near-identical carpet samples to disseminate, and chides him by fax for forgetting their son’s birthday before departing. His problems of the day are contending with mercurial Japanese ad directors babbl[ing] incessant, enthusiastic instructions that come from the translator as brief, curt instruction, and making up suitably meaningful poses for stills. He passes through this web of inanity and fakery, staying alive by leaning on his own dry wit and downing product samples on the rocks.
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https://dotandbo.com/products/seabiscuit-movie-poster-print-27-x-40-item-movef9905-2fcf
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en
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Seabiscuit Movie Poster Print (27 x 40)
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http://dotandbo.com/cdn/shop/files/65e710ac507e15750c048308-transformed.jpg?v=1710572465
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Seabiscuit Movie Poster Print (27 x 40) - Item MOVEF9905 would make the perfect addition to your home or office or gift recipient. This superb Movie Poster is ready for hanging or framing and you will enjoy viewing this Movie Poster on your walls for many years to come. Your Poster will ship rolled in an oversized tube
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en
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//dotandbo.com/cdn/shop/files/dotandbo-favicon32x32_66c1363a-7768-43aa-9464-666008497b3a_32x32.png?v=1706541772
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Dot & Bo
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https://dotandbo.com/products/seabiscuit-movie-poster-print-27-x-40-item-movef9905-2fcf
|
Seabiscuit Movie Poster Print (27 x 40) - Item MOVEF9905 would make the perfect addition to your home or office or gift recipient. This superb Movie Poster is ready for hanging or framing and you will enjoy viewing this Movie Poster on your walls for many years to come. Your Poster will ship rolled in an oversized tube for maximum protection.
|
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5867
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dbpedia
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1
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https://www.amazon.com/SEABISCUIT-MOVIE-POSTER-ORIGINAL-BRIDGES/dp/B00DQSYNJM
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en
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Amazon.com
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Enter the characters you see below
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5867
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dbpedia
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https://www.imdb.com/title/tt0329575/
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en
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Mit dem Willen zum Erfolg (2003)
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[] |
[] |
[
"Reviews",
"Showtimes",
"DVDs",
"Photos",
"User Ratings",
"Synopsis",
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[] |
2003-09-25T00:00:00
|
Seabiscuit - Mit dem Willen zum Erfolg: Directed by Gary Ross. With David McCullough, Jeff Bridges, Paul Vincent O'Connor, Chris Cooper. True story of the undersized Depression-era racehorse whose victories lifted not only the spirits of the team behind it but also those of their nation.
|
en
|
IMDb
|
https://www.imdb.com/title/tt0329575/
|
Roger Ebert says he has a theory that `people more readily cry at movies not because of sadness, but because of goodness and courage.'
This is certainly a reason why Gary Ross's Seabiscuit tugs so effectively at the heartstrings. But the main one is the way the movie shows the triumph of the underdog spread fourfold among three men and a horse. And again the timing is right in the American release. Just as Danny Boyle's 28 Days Later was delightful because it was a low budget movie that could compete with a lot of loud and dubious blockbusters, Seabiscuit earns our gratitude by being a blockbuster without explosions or exhibitionism, an epic of restraint, modesty and -- yes -- `goodness and courage.' The loudest sound you hear is the starting bell for the races. There are those of us, mainstream folk, who've been starving for such fare. I saw people in the audience in the early matinee who plainly were alive in 1929 and 1938, and they wept and applauded throughout with awe and gratitude. We shall see how the younger generations respond.
An enthusiastic response is justified. There is nothing in Seabiscuit that's very original; it awakens involuntary flashbacks to many traditional Rocky-esque sports biopics as one watches. But Gray and his chief collaborators, the talented author Lauren Hillenbrand and the splendid cast headed by Jeff Bridges, Chris Cooper, and co-producer Tobey McGuire, have nonetheless provided us with a quite wonderful movie, as much for its surefire writing and brilliant editing as for any of the acting.
Everyone must agree that the three men behind the most famous horse of his time are played by three of the best actors Hollywood now has to offer. Critics are in accord in saying Cooper's performance is the subtlest and the most real: he models the principle that Less is More. Tobey McGuire isn't given quite enough to do; his greatest accomplishment may be his lean look; he's barely recognizable, and as a former redhead myself I don't think the dye job is as bad as some have claimed. Bridges is, in his way, magnificent, but glossily iconic and therefore somewhat opaque. His resemblance to Franklin D. Roosevelt is pushed a bit too hard, as is the whole uplifting populist message - the `we didn't fix the horse. He fixed us - and we fixed each other,' and `sometimes all somebody needs is a second chance,' stuff. (It's pretty corny. But within the context of this beautifully made movie that believes in itself, we buy it.)
It's important, anyway - if young people do come to see Seabiscuit - for them to get the simplified, but nonetheless just portrait of the times provided with authentic stills and footage, and the voiceover narration by iconic historian David ("The Civil War") McCullough. The travelogue of the Depression and Prohibition years includes a quiet but heartfelt plug for FDR and that, too, is moving, especially in today's post-Yuppie mood of numbingly exploitive jingoism.
Indeed each of the three actors gives a powerfully understated performance - they're like thoroughbreds who're never given their head - whose litotes (a word schoolboys learned back then) enhances the movie's epic quality by never letting us forget that their triumphs were snatched from deprivation and adversity.
The long time devoted to the three men's backgrounds early in the movie isn't ill spent. It establishes the leisurely pace that is the essence of epic. But these back-stories aren't as necessary as the filmmakers may have thought. And despite the slow movement, there isn't deep detail. There's barely one scene to establish Red Pollard's (McGuire's) literate, close-knit family before he's cast (heartbreakingly) out of it. Charles Howard's (Bridge's) loss of his son is too telegraphic, though it's a fine touch to show him wailing with the boy's body but with his voice barely audible: it's one more example of the movie's sense of the period and of its restraint.
Right from the first the horse races are astonishing in the camera's closeness and vividness, the way we feel the danger and physicality of the jockeys' brutal competition with one another. Since we know Pollard is a failed prizefighter and general scrapper, we take in stride that fact that he's physically fighting with other jockeys during the early races. This is a movie about horse racing and the races had better be terrific, and they are. It's when we see the power of those sequences that we realize Seabiscuit has the makings of a popular classic.
Jeff Bridges' performance in particular seems etched in stone. There are touches of Jimmy Stewart, Joseph Cotton, even Orson Welles in his role and his looks. The chameleon Bridges comes carrying traces of Coppola's Tucker, but he has entered into the period and the tradition with utter conviction. Cooper's austere minimalism, because it is the essential spirit of the movie, its understatement (litotes), is the central performance. He is a man who communicates better with horses than with men. McGuire's performance is the noisiest, but he too reflects the social restraints of the period, and his wings are clipped before the final triumph can take place. This was a time when people had superiors and recognized it by calling them Sir and Mister. Everyone male wore a suit and tie, even jockeys off duty.
Seabiscuit's ability to tug at the heartstrings first appears when Red Pollard is let go by his destitute father so he can be a jockey. The moment is deeply sad because what seems an act of heroic renunciation by a loving parent is in fact abandonment, and it feeds the young man's rage thenceforth. And it's more complex than that because it grows out of the enormous pressures of the Depression, a time when millions in America wandered westward deprived of everything but their cars and a few possessions.
Not only Bridges' performance but whole sequences of Seabiscuit seem etched in stone and contain examples of textbook-perfect editing that possesses sweep and complexity and advances the story while keeping our focus on the prevailing mood.
This is, of course, the classic American story of triumph out of defeat and resolution out of conflict. As is a little too clearly pointed out, all three men, Charles Howard, Tom Smith, and Red Pollard, have had great devastation and loss in their lives (echoed by the whole country's economic devastation, failure, and loss of nerve; and it's implied -- with some failure of restraint -- that Seabiscuit's underdog triumphs were as needed as the New Deal). Their horse was rescued by Smith (Chris Cooper) when it was going to be shot because it seemed unruly and untrainable. Out of all this failure and tragedy the men forge their victories: Seabiscuit, the horse that lacked breeding, was untrainable, and was `too small'; Pollard, abandoned by his parents, beaten in many prize fights, secretly blind in one eye and `too big' to be a top jockey; Smith, a gifted horse tamer and trainer reduced to riding the rails and hoboing; Bridges, the self-made millionaire devastated by the destruction of all his hopes in a ruined economy and the sudden death of his young only son. They bond together to make Seabiscuit into one of the greatest racehorses in history. Who wouldn't be moved by this? Only the conventional fat man who's War Admiral's snobbish Maryland owner. It's all about heart, and Seabiscuit's got it.
William H. Macy's caricatured portrait of an alcoholic radio announcer is a highlight, in the sense of a bright spot on a painting. It's a shrill and brittle performace that we tolerate because of the moments of relief Macy's little comic vignettes provide. Subtlety is sacrificed to provide an effect, and to brush in a bit of humor amid all the earnestness. One only wishes there were more of a progression; that the character didn't sip from the same bottle in every scene but got drunker, or soberer, as things went along.
We have to allow for the exigencies of filmmaking that required ten horses to be used for Seabiscuit, leading to the irony that this unique horse is a composite.
If you accept its conventionality, Seabiscuit is not just a good movie but a great one.
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https://www.pinterest.com/pin/518899188309352486/
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en
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""
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2017-12-28T23:31:27+00:00
|
Shop our selection of Seabiscuit posters for the perfect collector's item or wall art.
|
en
|
Pinterest
|
https://www.pinterest.com/pin/410601690998469395/
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https://www.amazon.com/Seabiscuit-Lost-Documentary-Martin-Mason/dp/B0000DI4SB
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Amazon.com
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dbpedia
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2
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https://www.amazon.com/XIAOXIN-Seabiscuit-Restaurant-Paintings-Decoration/dp/B09R4GZY71
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en
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Amazon.com
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5867
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https://www.commonsensemedia.org/movie-reviews/seabiscuit
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en
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Seabiscuit Movie Review
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[
"Nell Minow"
] |
2003-12-14T00:00:00
|
An inspiring story for teens and up. Read Common Sense Media's Seabiscuit review, age rating, and parents guide.
|
en
|
/themes/custom/common_sense/images/favicons/favicon-16x16.png
|
Common Sense Media
|
https://www.commonsensemedia.org/movie-reviews/seabiscuit
|
This horse lovers' movie is far from perfect, but it offers good, solid, heartwarming entertainment. There is a reason that good movies about sports, almost always about an underdog who overcomes obstacles to succeed, appeal to us in such a visceral fashion. Americans fiercely love athletic heroes because we want to believe that the difference really is in something beyond the physical, that it exists in a big heart and scrappy soul. Seabiscuit brings every evocative notion of the underdog out of the stable in turn but manages to make a movie with familiar themes seem as handsome as a thoroughbred, albeit one that has trouble in the homestretch.
Director Gary Ross does a yeoman's job of trying to capture varied themes in one film. If anything, the themes are kept on such tight reins and are demonstrated to the audience so often that some will find their repetition heavy-handed. Some audiences might find the parts of the movie slow going and the solemn, documentary-styled narration of PBS's own David McCullough a bit on the heavy side. Finally, it is a minor quibble but Maguire sits too heavy in the saddle to be mistaken for a real jockey. Seabiscuit has all the tension, movement and excitement audiences expect from summer flicks, but it has the added bonus of strong acting, which in the summer is often replaced by computer animation or exploding cars.
|
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1
| 60
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https://www.alamy.com/stock-photo-the-seabiscuit-year-1949-director-david-butler-spanish-movie-poster-10148585.html
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en
|
The Seabiscuit Year 1949 Director David Butler Spanish Movie Poster Stock Photo
|
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Download this stock image: The Seabiscuit Year 1949 Director David Butler Spanish Movie Poster - A15APJ from Alamy's library of millions of high resolution stock photos, illustrations and vectors.
|
en
|
https://www.alamy.com/stock-photo-the-seabiscuit-year-1949-director-david-butler-spanish-movie-poster-10148585.html
|
The Seabiscuit Year 1949 Director David Butler Spanish Movie Poster
Captions are provided by our contributors.
RMID:Image ID :A15APJ
Image details
Contributor :
Photo 12 / Alamy Stock Photo
Image ID :
A15APJ
File size :
28.6 MB (4.9 MB Compressed download)
Open your image file to the full size using image processing software.
Releases :
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Dimensions :
2376 x 4210 px | 20.1 x 35.6 cm | 7.9 x 14 inches | 300dpi
Photographer :
Photo12
More information :
WARNING: This photograph can only be reproduced by publications in conjunction with the promotion of the above film. For Editorial Use Only.
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Taxes may apply to prices shown.
|
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5867
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dbpedia
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1
| 37
|
https://www.pinterest.com/pin/seabiscuit-print--64105994686488681/
|
en
|
[] |
[] |
[] |
[
""
] | null |
[] |
2022-03-24T08:14:29+00:00
|
Buy the Seabiscuit print online from Houzz today, or shop for other Prints & Posters for sale. Get user reviews on all Bedroom products.
|
en
|
Pinterest
|
https://in.pinterest.com/pin/seabiscuit-print-contemporary-prints-and-posters-by-posterazzi--64105994686488681/
| |||||||
5867
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https://letterboxd.com/brianformo/film/seabiscuit/1/
|
en
|
‘Seabiscuit’ review by Brian Formo • Letterboxd
|
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I have a family portrait framed of the last day we were a family. It's one of those Old West yee-haw get ups. My mother dressed like a madame, my dad the sheriff, my sister a prostitute, and I was a bandit. My mother and sister have the biggest smiles, which for my sister was no small feat. She was on better picture-taking behavior, I suppose, because there was a professional behind the lense and not our mother. I would describe myself as trying to stay in character with a sly smolder. It was probably the first time my moustache
|
en
|
https://letterboxd.com/brianformo/film/seabiscuit/1/
|
I have a family portrait framed of the last day we were a family. It's one of those Old West yee-haw get ups. My mother dressed like a madame, my dad the sheriff, my sister a prostitute, and I was a bandit. My mother and sister have the biggest smiles, which for my sister was no small feat. She was on better picture-taking behavior, I suppose, because there was a professional behind the lense and not our mother. I would describe myself as trying to stay in character with a sly smolder. It was probably the first time my moustache was full and not thin and it gave me a little more confidence that had escaped me in life til that point. My dad is holding a rifle firmly and his eyes are stunned. I love this photo because what could be going through his mind then? Knowing that the next morning, because I'm flying back to Tennessee, he's going to tell the whole family that he's moving out to live with his secretary. And we're here taking a family portrait.
I'm the only member of the family who displays this photo. It was a few months shy of 20 years ago that it was taken. There are two reasons why I display it. The first is that it's bizarre. The second is, because I lived with friends for my senior year of high school after my parents moved north, that it's the only professional photo of us we have after I'd finally hit my growth spurt and wasn't preyed on by predators. It marks me hitting adulthood with my family at the moment my dad decided to split. His splitting changed my entire dynamic with my family because it ruptured a very close relationship he had with my sister. And it brought me closer to my mother whom, truth be told, I didn't know well prior because I always sought my father's attention and because she worked nights many days of the week all my years growing up. I have always fled family like a bandit, wanting to live far flung places, and I kind of lived like an outlaw, too. But among them I was suddenly the peacekeeper. I had the unique perspective of seeing everyone's side and not thinking anyone did anything wrong — other than to take this photograph.
Whenever my mom would visit me, I'd put it away. I think she and my dad are both happier as individuals now but it still strikes a nerve for her, being blindsided. Of course I'm armed with the perceptiveness of a rare memory I have from when I was very young which was watching my dad smack my mom's butt as she cleared the table and giggle to himself and I thought of how my parents interactions did not line up with romantic love that I'd seen on television or the movies. Were they even in love? was a thought that entered my eight-year old brain.
She visited last weekend and for the first time in 20 years I left it out. She stopped and looked and said "oh my God, I thought I destroyed every copy of this!!" I'm not sure how I had one, to be honest. I had a vague memory of my mom calling in tears saying they had to pay for the photos but she didn't want any and if anyone did to call the store and they'll ship it. I was the only one who requested it. Partially it was for the story behind it. I was studying creative writing after all. Moreover it was a tidy encapsulation of things that I knew would last longer than the oddity of the day itself.
For a split second, I felt a touch of guilt for having displayed this framed photo. My mother said what I always thought when I saw it, "what was going through your father's mind that day? Family portraits, a dinner and a movie." I'd forgotten that we did anything else. I remember the next morning more clearly. My sister and my mother crying in the garage, our German shepherd crying between them, my father pulling his truck out to take me to the airport and tell me about all the thoughts that went through his head as he biked the Tour de France with some Belgians half a day behind Lance Armstrong. That's when he'd decided to do all this.
"Do you remember which movie we went to?" I asked. My mom laughed and turned her mouth into a sour formation and her eyebrows turned crooked, "Seabiscuit." We laughed for different reasons but I know that my mom laughed not because she has discerning taste in movies but because it was such a wholesome movie. Probably one that she'd love and rewatch if it weren't associated with more painful memories. I laughed because I'd recently talked about the title with Mia while we were doing research for one of our podcast episodes and it was the year that Seabiscuit was up for seven Oscars and I said, "I don't remember a thing about the movie but I know I've seen it. It's Jeff Bridges and Tobey Maguire." No wonder I'd forgotten everything about it.
I decided to rewatch it and it's instantly forgettable. The type of movie with saccharine narration of the world at large that essentially says government programs and federal jobs didn't lift America out of the Great Depression, hope did. And a discarded horse was what 40+ million people put all their hope into. History repeated itself because this became the most purchased drama ever on DVD. But that's not surprising due to what the movie is — an easy, simple story that still upholds American greatness; with the underdog beating the established. (A better encapsulation would be a different Jeff Bridges biopic, Tucker: The Man and His Dream but that's about how the government stifles innovation if it threatens one of the richest; push through it if you can! Fuck the little guy!) It's a bland four-course meal without any interest in pushing anything closer to the rail. But like the jockey atop a racehorse it's lightweight, harmless, sprite, and has a short shelf life.
When Boise legend Gary Stevens appeared as a jockey needing tips from Tobey Maguire I thought to myself, it's too bad, my mom would absolutely love this. And a weird thing is, I know my dad owns it on DVD. As oblivious as he is in that picture.
|
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dbpedia
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3
| 14
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https://www.amazon.com/Eighty-Dollar-Champion-Snowman-Inspired-Nation/dp/1441786465
|
en
|
Amazon.com
|
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Enter the characters you see below
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5867
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dbpedia
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2
| 5
|
https://www.pinterest.com/pin/403846291558448054/
|
en
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[] |
[] |
[] |
[
""
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[] |
2014-05-01T02:53:25+00:00
|
One of the most amazing book's I've ever read...Seabiscuit- I Love you!
|
en
|
Pinterest
|
https://in.pinterest.com/pin/cinma-in-2024--109423465940911934/
| |||||||
5867
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2
| 78
|
https://filmthreat.com/
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en
|
Film Threat Your Independent Movie Guide
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] | null |
[
"Film Threat Staff"
] |
2024-12-31T01:00:30-08:00
|
Rated one of the top independent film review sites worldwide specializing in movie news, filmmaker interviews, film festival coverage and indie DIY how-tos
|
en
|
https://filmthreat.com/wp-content/uploads/2019/12/favicon.ico
|
Film Threat
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https://filmthreat.com/
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Black Outside
NEW TO VOD! In his feature film Black Outside, filmmaker Gary Wilkerson, Jr. takes a...
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|
||
5867
|
dbpedia
|
1
| 95
|
https://moviemem.com/products/lobby-cards/seabiscuit-original-lobby-card-5-tobey-maguire-jeff-bridges/
|
en
|
SEABISCUIT Original Lobby Card 5 Tobey Maguire Jeff Bridges
|
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[] |
[
"Seabiscuit",
"Gary Ross",
"Tobey Maguire",
"Jeff Bridges",
"Chris Cooper",
"Elizabeth Banks",
"Gary Stevens",
"William H. Macy",
"Original Movie poster"
] | null |
[] |
2023-12-14T05:11:26+00:00
|
Seabiscuit, Gary Ross, Tobey Maguire, Jeff Bridges, Chris Cooper, Elizabeth Banks, Gary Stevens, William H. Macy, Original Movie poster
|
en
|
Moviemem Original Movie Posters
|
https://moviemem.com/products/lobby-cards/seabiscuit-original-lobby-card-5-tobey-maguire-jeff-bridges/
| ||||||
5867
|
dbpedia
|
3
| 63
|
https://www.champsofthetrack.com/post/charles-howard-seabiscuit-american-hero
|
en
|
Charles Howard & Seabiscuit: Marketing An American hero
|
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] |
[] |
[] |
[
""
] | null |
[
"Kaeli Bartholomew"
] |
2022-12-08T17:15:57.143000+00:00
|
Howard always had a knack for marketing and he was keen to use this skill on Seabiscuit. He didn’t only want the horse to be a success on the racetrack, he wanted him to become an American hero. The horse’s story was enough for people to flock to racetracks across the country to watch him race. They heard the story of this run-down, losing horse turning his luck around to become a star and wished to have the same thing happen to them.
|
en
|
Champs of the Track
|
https://www.champsofthetrack.com/post/charles-howard-seabiscuit-american-hero
|
Seabiscuit came along exactly when the American people needed him to. He was foaled at Claiborne Farm in 1933 - the midst of the Great Depression. He was the grandson of the iconic racehorse Man o’ War and though royally bred, Seabiscuit looked nothing like the great horse he descended from. Man o’ War stood 16 ½ hands high with flawless legs and the obvious look of a champion; Seabiscuit was small, knobby-kneed, and loved nothing more than sleeping and eating.
Seabiscuit began his career with Triple Crown-winning trainer Sunny Jim Fitzsimmons. Despite Seabiscuit's awkward appearance, Fitzsimmons actually believed that the little horse had potential. But Fitzsimmons was too focused on training Omaha, a colt that won the Triple Crown during Seabiscuit’s two-year-old season in 1935, to give Seabiscuit the time he needed. Seabiscuit was thought to be too lazy to accomplish anything near what Omaha was accomplishing. His racing record didn’t do much to help him either; Seabiscuit failed to win any of his first 17 races.
Eventually, though, Seabiscuit started to put the pieces together and won five of his 35 starts as a two-year-old, including three stakes races. He even set a track record of :59 ⅗ in the five-furlong Watch Hill Claiming Stakes at Narragansett Park. Still, the hard-raced horse was growing more unhappy with each start. Even the great Sunny Jim Fitzsimmons couldn’t figure out how to get the horse to reach his full potential. The horse would continue down this unremarkable path until Charles S. Howard, Tom Smith, and Red Pollard came into his life.
Charles S. Howard was familiar with the struggles of building something great; though he was born into money, Howard refused his family’s wealth. He moved to San Franciso in 1903 with just 21 cents in his pocket to open a bicycle shop. Two years later he opened a Buick franchise but failed to sell a single car.
Howard’s luck changed when a deadly earthquake struck San Franciso in 1906. He was the only person in the city with cars to help the injured; the tragedy turned Howard’s life to prosperity. This, combined with Howard's excellent marketing tactics, allowed him to absolutely thrive. Years later, Howard found himself spending quite a bit of time at Tijuana Racecourse in Mexico - he was looking for an escape after the tragic death of his 15-year-old son Frankie and the thrill of horse racing and gambling (the latter of which was illegal in the United States at the time) was exactly what he needed. It was here that Howard's love of horses and horse racing began to grow.
The stock market crash in 1929 left California with a need for revenue and Charles ‘Doc’ Strub, a former pro baseball player and investor, knew exactly what could bring it - a racetrack. Desperate for funds, the California government re-legalized gambling, and with the help of multiple investors, including Charles Howard and Bing Crosby, Strub’s Santa Anita Park was born. It opened its doors for the first time on December 25, 1934.
Headlining the Santa Anita Park meet was the Santa Anita Handicap, a race worth $100,000. It was the biggest purse in the world and an unfathomable amount of money to the average American at the time. Charles Howard, much like everyone else in the world, wanted to win it. Thus, in 1935 Howard and his wife Marcela purchased a string of 15 racehorses. Always with an affinity for the underdog, Howard selected only the most down-on-their-luck horses. In this quest for creating a stable capable of winning the “hundred-grander”, Howard hired the unorthodox “Silent” Tom Smith as his trainer.
Tom Smith was a special trainer. He grew up riding in great cattle drives, then breaking wild mustangs for the British cavalry, and later for the U.S. Cavalry. Eventually, Smith was hired by C.B. “Charlie” Irwin as an assistant trainer and blacksmith. Smith worked for Irwin for many years and times were difficult; he was sleeping on a cot in a stall and working hard to nurse Irwin’s overworked horses back to health. Smith spent his time with the Irwin barn learning everything he could and, eventually, he was hired by Charles Howard.
Smith knew how to listen to the horses in his care; he was known to sit in a stall with a horse and stare at them for hours, learning everything about them to be able to transform them into real runners. Together, Howard and Tom began winning races with his longshot, bad-looking horses.
In August 1936, Howard asked Smith to look at another horse he was thinking of purchasing. That horse was Seabiscuit. Smith had actually seen the horse in the paddock for a race at Suffolk Downs.
“The colt was practically sneering at him. Smith was standing by the track rail when a weedy three-year-old bay stopped short in front of him, swung his head, and eyed him with an arch expression,” The Observer wrote of Smith’s first time meeting Seabiscuit. “'He looked right down his nose at me,' Smith remembered, 'like he was saying, ‘Who the devil are you?’ Man and horse stood on opposite sides of the rail for a long moment, sizing each other up. Smith watched the animal's rump swing around and go. Thin, yes, but he had an engine on him.”
Seabiscuit ended up winning the race. He and Smith met eyes again when the horse came into the winner's circle; Smith nodded and he swore the horse nodded right back. It was as if they knew they would one day meet again to change each other's lives.
[Video: Watch Seabiscuit: American's Legendary Racehorse here]
It was a deal. Howard purchased Seabiscuit from the horse’s trainer Fitzsimmons for just $8,000. It took some time for the horse to come into his own in Howard's barn; he was underweight, lazy, and a menace to everyone that had to work with him. The horse disliked running and spent most of his days pacing in his stall. But with his watchful eye and unending patience, Smith was able to transform Seabiscuit into a horse that learned to love the feeling of running - and winning.
They partnered Seabiscuit with jockey Red Pollard. Like Howard, Pollard had been born in affluence. However, his family lost their brickyard in a flood in 1915 and Pollard was thrown into a life of poverty. For many years he struggled as a jockey; he was tall, standing 5 foot 7, and had lost vision in his right eye when a rock hit him during a race - a secret he kept as he would not have been allowed to ride had his loss of vision been known. Much like Seabiscuit, Pollard was down on his luck when Smith asked him to ride.
The unlikely team of an owner who turned tragedy into fortune, a trainer who rarely spoke, a half-blind jockey, and a rundown horse began to climb their way up the ladder of horse racing together. They began winning handicaps and even setting records. The American people were smitten and Charles S. Howard knew that his horse was exactly the type of hero his country needed.
The Depression left each American looking for a way to escape. People flocked to the theater to lose themselves in movies and crowded around radios to listen to sports coverage. Thoroughbred horse racing’s popularity soared during this time; the exciting narration style of a race call over the radio was prime entertainment.
Howard always had a knack for marketing and he was keen to use this skill on Seabiscuit. He didn’t only want the horse to be a success on the racetrack, he wanted him to become an American hero. The horse’s story was enough for people to flock to racetracks across the country to watch him race. They heard the story of this run-down, losing horse turning his luck around to become a star and wished to have the same thing happen to them.
Howard took advantage of the American People’s desire for escapism by making sure that the press was always reporting on Seabiscuit's exploits. He was known to send champagne to reporters and call them with scoops. The press would even gossip about Seabiscuit in the same way that they gossiped about the big stars in Hollywood.
“One inventive scribe wrote that trainer Tom Smith poured two quarts of Golden Rod beer for Seabiscuit to drink before each race,” PBS published. “If this brew is denied the stallion, the imaginative writer wrote, the horse ‘whinnies and stomps to indicate displeasure.’”
The public love for Seabiscuit grew and grew every year, especially by 1938 when Seabiscuit had two incredibly close calls in the Santa Anita Handicap and was slated to run in a match race against Triple Crown winner War Admiral. Movie theaters played coverage of his races and his picture was all over the newspapers. Seabiscuit was the #1 newsmaker of 1938, ranking above President Franklin D. Roosevelt and Adolf Hitler. 40 million people tuned in to listen to Seabiscuit defeat War Admiral in their long-awaited match race.
The press weren’t the only ones to take advantage of Seabiscuit’s incredible rise to the top. His likeness was used to promote everything from hats, to hotels, pinball games, to laundry services, and even crates of oranges. Something regarding Seabiscuit was around every corner - “Seabiscuit-itis” had taken over America.
Seabiscuit tore a ligament in his ankle shortly after his famed triumph over War Admiral in their match race. In the final display of his greatness, Seabiscuit recovered and finally won the $100,000 Santa Anita Handicap in 1940. His fairytale story had culminated in the most incredible way possible.
Thanks to Charles S. Howard’s ability to promote his horse to the press, every single American knew of Seabiscuit’s great story. They were all touched by his story of going from a rundown, losing horse to a horse capable of winning the best races and defeating great horses. His story still inspires us 82 years later and likely will forever.
About: Champions of the Track works to create new fans of horse racing through entertaining, engaging, and educational content. Made by fans of horse racing, for fans of horse racing. Powered by KPB Media.
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