PHAR LAP. Directed by Simon Wincer; written by David Williamson; produced by John Sexton for Twentieth Century Fox. Starring Tom Burlinson, Ron Leibman and Martin Vaughan. Rated PG.
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Obituaries for few horses have made the front page of The New York Times. But Phar Lap's did. He was a racehorse who had generated considerable excitement in Australia, and was beginning to do the same thing here, when he died under suspicious circumstances in 1932. Phar Lap tells his story in the best movie biography fashion.
Phar Lap has the elements of a successful sports movie as well—an underdog hero, who must struggle with a hostile establishment to become a champion, beloved by millions. In addition to the story, though, good acting and interesting human characters with interesting relationships put it a nose ahead of the pack.
Phar Lap is an unlikely-looking animal, but trainer Telford (Vaughan) likes his bloodlines. Owner Davis (Leibman) wants to sell him right away, but Telford convinces him the horse is only lazy, and embarks on a program of rigorous, almost cruel, training. His conditioning method by itself doesn't pay off. But when stableboy Tommy (Burlinson) hits upon a new track training technique, the horse begins a phenomenal string of victories.
Burlinson could be afraid of becoming type-cast as a horseman, since that was his role in The Man from Snowy River, too. But his character here is quite different than in the earlier movie, mostly more reserved, more "mindful of his place." And he doesn't dominate the story in Phar Lap, the way his character did in Snowy River.
Telford is arguably a more important and interesting character. His manner is crusty without the usual accompanying heart of gold. One can admire Vaughan's talent in the portrayal, without feeling much affection for the character. And the rest of the cast is fine as well.
It's become a foregone conclusion lately that movies set in times past will have meticulous production design. But the spectacle of costumes, hairdos, cars, buildings all conspiring to recreate the feel of the early '30s is still worth a comment here.
A certain level of knowledge of horseracing is assumed by the makers of Phar Lap. But the details eventually make sense even to the completely ignorant (such as myself).
Phar Lap is sentimental, without being mushy, and exciting without undue violence. These are two thin lines which Australian moviemakers seem better able to stride than most Americans. At least, as far as I can judge by the Australian movies seen "up here" in the last few years. They've always been interesting and, almost always, extremely well-made. Phar Lap isn't the best of the crop, but it does nothing to diminish the Aussies' overall reputation.
November 28, 1984