A psychiatrist, Martin Dysart, investigates the savage blinding of six horses with a metal spike in a stable in Hampshire, England. The atrocity was committed by an unassuming seventeen-year-old stable boy named Alan Strang, the only son of an opinionated but inwardly-timid father and a genteel, religious mother. As Dysart exposes the truths behind the boy’s demons, he finds himself face-to-face with his own.

Equus (1977)
  • Rating: (3,554 votes)
  • Tagline:"I am yours and you are mine" »
  • Runtime:137 minutes
  • Director: Sidney Lumet
  • Countries:USA, UK
  • Actors:
    Martin Dysart
    Richard Burton
    Alan Strang
    Peter Firth
    Frank Strang
    Colin Blakely
    Dora Strang
    Joan Plowright
    Harry Dalton
    Harry Andrews
    Hesther Saloman
    Eileen Atkins
    Jill Mason
    Jenny Agutter
    Margaret Dysart
    Kate Reid
    Horseman
    John Wyman
    Miss Raintree
    Elva Mai Hoover
  • Genres:Drama, Mystery
  • Producers:
    Denis Holt
    associate producer  
    Elliott Kastner
    producer  
    Lester Persky
    producer  
  • Plot: A psychiatrist, Martin Dysart, investigates the savage blinding of six horses with a metal spike in a stable in Hampshire, England. The atrocity was committed by an unassuming seventeen-year-old stable boy named Alan Strang, the only son of an opinionated but inwardly-timid father and a genteel, religious mother. As Dysart exposes the truths behind the boy's demons, he finds himself face-to-face with his own. Written by Serenleono <verax@mindspring.com>
Equus
  • User's comment:Superb Film on its Own, Different Terms by chrstphrtully

    One of the most intriguing comments I've heard about this film is that it pales in comparison to the stage production. On the one hand, this is true in that the film loses much of the inventive staging that was inherent in the play (e.g., convention of having the "horses" played by actors in black with horsehead headdresses, the tight focus of the action within a small perimeter). The problem, however, isn't so much Sidney Lumet's concept of the film as it is the limitations of the medium itself -- devices which are striking on stage simply don't work on film. Indeed, those directors who have tried to make such conventions work usually end up shortchanging the material.

    And it is here where Lumet's genius comes in. If there is one thing that Lumet has a feel for, it is the gritty, down-to-earth feel of everyday life. While this usually means New York life, he does a marvelous job in this film of capturing the drab sterility of Dysart's world, as well as that of the Strang home. When these are compared to the vivid, almost ethereal shots of Alan in the stables or with the horses on the field (also, compare the striking image of horse and rider on the beach with the remainder of the beachgoers), we can fully understand Dysart's frustration about "looking at pages of centaurs trampling the soil of Argos" while Alan "is trying to become one in a Hampshire field". Alan has found a way to completely escape the drabness of his world, while Dysart has become sterile trying to find ways not remind himself of it. Similarly, the tight perimeter of the stage play has been replaced by tight focused shots which, more often than not, achieve the same result through a claustrophobic effect.

    Likewise, the absence of theatrical staging does nothing to dampen the power of Shaffer's text, which remains as potent as ever. Indeed, what's often overlooked about this play is that, while the visual images of the staging are striking, they are, in most instances, completely detached from the central thrust of the text, both as a mystery and as a commentary on the consequences of society's demand for "normality" at any cost.

    In this regard, the performances are outstanding. Richard Burton gives one of his last great performances as Dysart, showing us the literally crumbling facade of the doctor's spirit, while at the same time giving us a complete character (contrast his cynicism throughout with the moments of tenderness, such as those shown to Alan's mother and to Alan himself after the final session). Likewise, Peter Firth presents us with a cipher, wrapped up in television jingles, who is revealed to us piece by piece through moments of vulnerability until we see in full force what has made his character commit these horrible crimes. The rest of the cast -- notably Joan Plowright, Colin Blakely and Jenny Agutter -- do wonders with the limited dialogue they have to work with.

    Put simply, Equus is an astonishing film to watch, provided that you're ready to watch it as a film, rather than as a filmed stage play. For those who hold to the notion that only the stage devices can make this play work, I'd advise them not to watch any film adapted from a play, as they'll almost certainly be disappointed every time.


  • Quotes: Martin Dysart: Passion, you see, can be destroyed by a doctor. It cannot be created. Martin Dysart: There is now, in my mouth, this sharp chain - and it never comes out. Martin Dysart: When Equus leaves, if he leaves at all, it will be with your intestines in his teeth - and I don't stock replacements.
  • Also known as: Equus (Argentina), Equus (France), Equus (Greece), Equus (Italy), Equus (Mexico - imdb display title), Equus (Sweden), Equus - Blinde Pferde (West Germany), Fliehende Pferde (West Germany), Hasten (Finland - Swedish title), Hesteguden (Denmark), Hevonen (Finland),

What do you think of this movie? Leave a comment.