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Jakub and Vladimir, two brothers in their late teens, join in the Cossack army to flee poverty. Elias and Roman, two other brothers, on their own as well, steal horses to survive... When fate brings them together, the encounter proves lethal. Vladimir gets killed. Jakub now burning with anger, is obsessed with revenge. A wild track begins, no one will be left unharmed...
Four men living in Eastern Europe in 1856 get caught up in tales of thievery, murder and revenge.
Brutal to the point of pointless. The over-repeated ring of bones crunching, snapping and breaking is what you shall take away with you. A wasted opportunity, considering the time, place and people in history are much neglected by western cinema.
The violence, which hogs everything, even itself becomes dramatically repetitive. The whole, inevitable, boring thing underscored by a vaguely religious male choral electronic musical voice which becomes camper and camper as the violence becomes more absurd.
The landscape is all but ignored. The people largely reduced and the protagonists used to synthesize the maker's own indulgent idea of tragedy and masculine beauty. Sadly,the taught notion that thoughtless brutality is somehow elevating when contrasted with the prettiness of youth (or is it meant to be the other way around?) just felt immature rather than informed or emotionally meaningful.
Such a waste. Just to add in it's favour, that the leads did bring good performances.
Set "somewhere in the East, around 1856", this action/costume film is a revenge story between two 'couples' of brothers. Jakub and Vladimir, two young Cossacks who suffer terrible humiliations during their military training and Roman and Elias (the two horse thieves of the title). After a terrible tragedy, Jakub leaves his regiment and tracks down the two thieves with what looks like a samurai's sense of honor and dignity. Shot in beautiful landscapes, with a minimum of dialogs, an impressive music, and an epic ambition, this blind and brutal race towards a metamorphosis (to free himself, Jakub will also have to become an outlaw) is also a study of dependence struggles (the two elder ones taking a role of father and imposing their choices to their youngest brothers). To appreciate this film, one needs to be sensitive to children's stories with a simple framework, disregard a certain awkwardness, and accept a very literary narration (three chapters announced by three titles: Him, Them, Manhunt), and a depiction of rough characters, the oldest thief (Roman, played by Grégoire Colin) almost turning into a kind of caricature.
'Voleurs de chevaux' is a sort of equestrian western which was obviously made on a low budget. The reconstitution of a mythical European mid-19th century often misses what the big Masters made of it (one can't help thinking of Kubrick with Barry Lyndon, or Kurozawa with Dersou Ouzala). Micha Vald took a risk, but there is an undeniable 'soul' which animates his beautiful story: the confrontation, crimes and vendetta of the four brothers, bathed in the cold light of a poisonous and solitary nature. Between the end of their adolescence and the beginning of maturity, the four characters compose a striking fresco, which owes most of its success to the actors' performances. One can't help taking one's hat off to this group of very young actors who support the whole film: Adrien Jolivet and Gregoire Leprince-Ringuet on one side, and Grégoire Colin and François-René Dupont on the other side. We won't forget the charm of theses ferocious dogs for quite a while.
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