Movie review: ‘The Electric Horseman’

ehJane Fonda was quite the divisive person in the 1970s. Unlike the insipid garbage who passes for controversial stars today (say those sleazy, vapid Kardashians), Fonda was at the heart of a truly national discourse on a war that ultimately killed 55,000 Americans. The country was divided over the war as well as Fonda, who traveled to meet our enemy (and was afterwards called “Hanoi Jane”) and even posed with them and their weapons that were used to attack the U.S. military. Fast forward and you either supported her or never wanted to see her again. I won’t comment on politics in a movie review, but it took several films (including “California Suite” – click here for my review) but I managed to be able to watch her. The film that did it was “The Electric Horseman” with Robert Redford. Truly a special film and wonderful work by all involved.

‘The Electric Horseman’
(1979; 121 minutes; rated PG; directed by Sydney Pollack and starring Robert Redford, Jane Fonda and Valerie Perrine)


When you put wonderful talent together, you can take a very pedestrian idea and make it very special. I’m writing today about “The Electric Horseman” – the story of a cowboy who steals a horse. OK, it’s a bit more than that, but without the energy and passion of Robert Redford and Jane Fonda, “The Electric Horseman” most likely would have been just another film in the winter of 1979.


The Electric Horseman” takes aim at the coming corporate culture that would come to smother part of the adventurous side of the United States and it takes a stand for freedom and doing the right thing even in the face of corporate power, money and official authority. Along the way, you’re treated to a neat story and terrific acting so that it doesn’t bog down in liberal dogma against “the man.”

In “The Electric Horseman,” Redford plays “Norman ‘Sonny’ Steele” and he’s a former champion cowboy who’s the spokesman for a breakfast cereal. However, he’s hitting the bottle pretty hard and is spiraling down in the eyes of his corporate bosses. He becomes outraged when the company, which owns a Secretariat-like race horse, puts the thoroughbred into a Las Vegas show at the multinational company’s annual meeting. Redford doesn’t like the way the horse is treated (it’s also being given drugs for a variety of reasons) and so he decides to steal him – and then set it free in wild horse country.

Fonda plays “Alice ‘Hallie’ Martin” and she’s a TV journalist who wants a nice story to stick it to the corporate greedheads who run the fictional company. She uses her investigative talents to find Redford and then the two of them set off to release the horse (“Rising Star”). Of course they fall in short-term love and each get to know and understand each other – and its wonderful interplay for the audience to enjoy.

Everyone except the company pretty much wins in the end, but it is not a saccharine ending that too many in Hollywood would have made but director Sydney Pollock obviously would not allow (his talent obviously precludes this).

It’s difficult to fully comprehend the talent of the Oscar winning (and three time nominee) Redford. He does so much, so well and with such ease here that you forget it is difficult to do this work. He goes from a fun-loving boozy cowboy to a determined idealist to someone whose emotions come out in subtle ways. He is comfortable in all situations and manages to forge a special relationship with his audience. Redford is better here than most of his roles (his Oscar-nominated turn in “The Sting” is one exception) and he’s also remembered with Dustin Hoffman in “All the President’s Men.” The only other Redford film that even comes close (and in some ways surpasses) to his work here is in “Three Days of the Condor” (click here for my review).

Fonda, a two-time Oscar winner (and five other nominations) is pitch perfect here, too. She does a very convincing job as an actual TV reporter with intelligence (rare in the 1970s and completely absent today – and journalism has been my career, so my opinion counts for something). Remarkably, I liked Fonda better in the light comedy “Monster-In-Law” with Jennifer Lopez (click here for my review) but she is a better newswoman here than she was in her nominated role as one in “The China Syndrome” (which was released nine months before “The Electric Horseman”).

Valerie Perrine, who is another Oscar nominee (“Lenny”), does a solid job as “Charlotta Steele,” who is Redford’s soon-to-be ex looking for him to sign divorce papers. The meat of her role is her description of Redford when she talks with Fonda. A good, if brief, piece of work by Perrine. She was also in “Superman.”

Here’s a quick rundown of other actors and their work:

  • Willie Nelson is in his first movie here and while he’s a bit unconventional, it isn’t the funny type of role he did well in “The Dukes of Hazzard” movie (click here for my review). He is truly solid and also had five songs on “The Electric Horseman” soundtrack.
  • Golden Globe winner John Saxon plays cold, calculating CEO “Hunt Sears” and he just cannot abide someone with Redford’s off-handed belligerence. Saxon, who was excellent with Bruce Lee in “Enter the Dragon,” knows roles that show little emotion and he does them well. He was also in “Joe Kidd” with Clint Eastwood and Robert Duvall (click here for my review).
  • Wilford Brimley basically plays … Wilford Brimley here as a farmer who helps Redford and Fond and the horse evade the law. He’s gruff, polite and principled. Just like for Perrine, a small role and good work in it. Brimley was also in “Absence of Malice” (another Pollack film) and “Cocoon.”

Finally, I will say that it was Pollack’s guiding hand that made this one a success. The prolific director (37 films over five decades) isn’t a one-hit wonder, as he also directed “The Way We Were” (I’ll forgive him for that one), “Tootsie” and the little-remembered “Bobby Deerfield” with Al Pacino as a Formula One race car driver. Earlier, he did TV and directed an episode of “Dr. Kildare.”

The Electric Horseman” just missed out on being in the top 10 of films in 1979 after it earned $61.8 million on a $12.5 million budget, according to Wiki. The No. 1 film was “Kramer vs. Kramer” with $106.2 million. Three films that year that were all better than the ho-hum drudgery of “Kramer vs. Kramer” were “All That Jazz” (click here for my review), “Meatballs” (click here for my review) and “Going in Style” (click here for my review).

Assorted cast and film notes (via

© Chuck Curry and A Gator in Naples, 2015.
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