Forgotten Features: ‘Spirit: Stallion of the Cimarron’ (2002)

Like horses? Like Bryan Adams? Well then, do I have just the film for you! Way back in 2002, DreamWorks Animation unveiled one of their most ambitious movies to date – one that has more or less sadly been forgotten about. As their follow-up to the ground-breaking CG comedy Shrek (2001), it’s not hard to understand why. By that point, DreamWorks Animation had just begun to define their own, almost subversive, genre – one infused with gags galore, and one which was often cited as the ‘anti-Disney’, boasting the acerbic and adult-friendly, snarky, sarcastic wit. The swamp-dwelling ogre would later go on to become the face of DreamWorks, and set the tone for their subsequent features. Indeed, this is an entirely different beast.

The film I speak of is Spirit: Stallion of the Cimarron. And contrary to many middle-of-the-road reviews, it is, in fact, a very watchable movie. That is, if you like horses. And are willing to put up with copious amounts of Bryan Adams. Yes. Bryan Adams. I must admit, I, myself, was somewhat confused by their (over)use of the ‘Everything I Do’ singer, particularly since he wasn’t exactly what you’d call ‘current’, even fourteen years ago, but the soundtrack is nonetheless decent. None of the songs are hugely memorable, but they are mostly utilised appropriately in order to set the scene and dictate the story, alongside a humourless and altogether rather low-key narration by Matt Damon, who lends his vocals to Spirit’s conscience. Perhaps these techniques were applied to give the film some levity, to make it somewhat more accessible to a broader audience. In any case, it’s not really necessary. Too many times, Damon states the obvious and you find yourself consciously retorting “Well yes, we just saw that happen!” And, while I (apparently unlike many others) have nothing against Bryan Adams’ music, I can’t help but feel that some of the more dramatic and emotional scenes might have had more of an impact without the accompaniment of his gravelly vocals, and some frankly ill-placed contemporary pop-rock. It’s not a major problem, but it does sometimes detract from the film’s ambience and setting.

DreamWorks Animation, 2002

Contrary to what many early reviews stated, Spirit actually does maintain a compelling narrative, in the sense that it’s not boring. The ‘problem’ is that it’s not nearly complex enough to stand out as an animated classic. Put simply, not enough happens in it for it to be held in as high regard as, say, The Road to El Dorado (2000). Some may also argue that it is lacking the sharp wit of some of the other DreamWorks flicks of the era. That said, this is a very different kind of movie for DreamWorks Animation, and one I feel may have been unfairly neglected over the years. It’s pretty ambitious in the sense that, besides Bryan Adams and Damon’s narration, there is very little dialogue whatsoever. The fact that it manages to maintain your attention throughout without resorting to crude humour, throwaway gags and needless side-characters to pad out the narrative is an impressive feat indeed. And, while we’re on the subject of visual appeal, the animation is nothing short of spectacular. Even by today’s high standards, some of the scenes with Spirit galloping on the open plains are breath-taking. The slick blend of traditional and CG animation is seamless – to the point at which it’s difficult to tell where the one ends and the other begins. If there’s one reason you should see this film, it’s for the visuals.

DreamWorks Animation, 2002

So if this film is so good, why is it so underrated? Well, it’s a bit of an oddity in the sense that it’s hard to pinpoint a specific target audience for the movie. That is, unless you’re a huge fan of horses. And Bryan Adams. Its plot is a little simplistic for your average adult audience, and it lacks the fast-paced, gag-infused restlessness that typically appeals to toddlers. In any case, its plot doesn’t necessarily *need* to be any more complex than it is – it merely falls short of being a masterpiece as a result, and is consequently rather unmemorable, particularly considering its running time. All the same, it’s diverse enough to stand out from the rest of DreamWorks’ canon as one that is unique, at least in some respects. It’s nice to see a film from DreamWorks that wears its heart on its sleeve, whose main appeal is not cheap slapstick. It’s not perfect, but it serves as proof that DreamWorks are far from a mere one trick pony.