User reviews

This small-scale film focuses on Gypsy folklore and myth, reincarnation, nature, and childhood.

Early in the film two Irish boys are given a horse by their grandad, which they decide to keep hidden in their tenement flat. Their father is severely depressed after the death of his wife, and lets the boys run riot. When the children (and horse) go on the run, he comes to terms with his travelling past with the Gypsies again and seeks solace in their help, wisdom, and faith.

'Into the West' is a truly remarkable film. The actors playing the children are remarkable (especially Ciaran Fitzgerald as Ossie), while the adult cast are headed by Gabriel Byrne (as the former traveller father) and his then-wife Ellen Barkin (as the mystical gypsy Kathleen). Both are excellent, while the mystical thread of the story - against the odds - remains believable and leaves an ending of optimism and goodwill.

Mike Newell, the director, and Jim Sheridan, the writer, deserve high praise for this movie. I also need to mention the Celtic music which pushes the story along and does much to set the atmosphere. Superb.

Irish themes often end up cloying or playing to stereotype. This movie, with its "mystical" Celtish theme and its message of Irish pluck could easily have fall into either trap.

But the kids -- and the horse -- save the day. Great actors, those boys. Great choreography with a beautiful horse. Together, these elements make the story remarkably engaging -- keep the story itself from devolving into bathos, and make it impossible for you not to suspend disbelief and root for the horse! Great directing to bring this all together.

Example of how such a fantastical story is presented with some subtlety: in one almost inconsequential shot, the two boys are walking down a crowded Dublin sidewalk, leading the horse. A couple of kids pass them, and throw unprovoked verbal abuse at the boys, disparaging them for being travellers. The older boy quickly spits back a retort or two in kind and then returns seamlessly to his ongoing conversation with his brother -- but doesn't break his stride and doesn't show any signs that the abuse has even registered with him. It is as once heart-rending (what does it say about his life so far that such an attack barely registers, it must be so common), and a testament to the boy's courage.

In that one brief scene, the movie shows the depth of character the kid will draw on throughout the movie, and you can't help but root for him! And the acting makes you feel like this is really who the boy is, not that he's an actor playing a part. (It was such a better scene than the heavy-handed scenes with the requisite bad cop.)

I always remember this movie for the shock of seeing a horse trying to live an apartment. Now, there's an unusual sight! I revisited this film last week and for a second and an overdo "ride" with these mystical Irish gypsies and their strange. By the way, I hadn't realized how nicely filmed this was until I saw it on 1.85:1 widescreen DVD.

Also to my surprise was that it wasn't the happy, family film I had remembered. There are many moments of frustration, sadness, violence, injustice, ete. It's hardly a bunch of fun times. The language is such, too, that I wouldn't recommend this for little kids, unless perhaps in Ireland where everyone seems to use Jesus' name in vain frequently, even kids.

It's still a story, basically, about two kids trying to capture and then keep a white horse, which is taken away from them. The cops (some crooked, as filmmakers love to show), the crooks and family are all out over the countryside looking for the boys and the horse.

In between, their father slowly comes to grips with the death of his wife some seven years earlier, a tragedy he has never been able to deal with correctly.

The best character and the most fun to watch is little "Ossie," played by Ciaran Fitzgerald. He's the one most-attached to the horse and the wee one has some of the best lines in the film.

This film's title is forgettable, though the film is not. It also is a film that defies categories. (i. e., adventure, family, etc.)

The cast is marvelous, including the children, and not least of all the beautiful horse. It is this ensemble of actors that endows the film with a legendary quality that is hard to forget.

The modern, harsh, and unadorned setting makes the story all the more poignant because it is not a fairytale. We can relate to these characters because their problems are problems that confront all of us. It is a story about underdogs we can root for, and about how animals and children enrich our lives by reminding us to set aside our cynicism, have faith, and be true to ourselves.

This is a great, highly underrated film that I'd recommend to anyone, anytime. I loved it!

Into The West is a charming Irish folktale with two excellent lead performances from Gabriel Byrne and Ellen Barkin, who have been married in the past and therefore have a natural, easygoing chemistry. The film takes place in rustic Ireland, where two young boys are given a magnificent and mysterious white stallion by their gypsy grandfather (David Kelly). They come from a poor neighbourhood, somewhat left to their own devices by their downbeat alcoholic father (Byrne), who lost his wife and their mother years before. The horse seems to have some type of sixth sense related directly to their family history. The two boys are in that state of wonder where fables and magic still exist, and follow the horse wherever it leads. Byrne desperately pursues his sons to whatever end, helped by a fellow Traveller and old flame (Ellen Barkin, excellent and passing quite well as an Irishwoman). The horse seems to know his past and leads him to places which have sentimental value to him, leading him one step closer to his kids, while teaching him an esoteric lesson along the way. Great stuff, kid orientated but still has an eerie and mature atmosphere. Watch for early appearances from Brendan Gleeson and Liam Cunningham. Beautiful film.

Fanciful, charming story ... except for the police violence. The whole police chase could have been cut and more detail of the family's history and the travellers' customs inserted. Now that would have been a wonderful movie. The boys are natural actors, the horse is beautiful, and there's a brooding Irish widower. Not a bad way to spend a couple of rainy hours.

`Into The West' is a beautifully made film: that it is also a wonderful children's move is only an added delight.

This film is a ghost story of love, loss, redemption, and the power of both myth and family to endure (if not exactly overcome) the twin bedevilments of a well-intentioned but meddling socialism, on the one hand, and privileged and greedy capitalism on the other. It is a modern fairy tale (with ties to traditional Irish mythology); but remarkably, it is also an honest, gritty look at the lives of not only the urban poor, but also of that most marginalized and enigmatic of socio-ethnic groups-the contemporary gypsies (or `travelers,' as they call themselves)--who eke out a meager but defiant existence in a world of the `settled.'

The movie is sympathetic to these people, but never over-romanticizes them. Around their campfire is not only joyous traditional Irish music and dancing, but also a television going full blast. And while their children are as happy as children anywhere, their camps are not idyllic picnics, but cold and grubby landfalls.

The story itself is not overly complicated. A strange white horse appears out of seemingly nowhere and is drawn to the two young sons of a widowed traveler, the death of whose wife has driven him to reject the gypsy life and embrace the bottle.

The horse, which has a preternatural jumping ability, is stolen and sold buy a corrupt police officer, then retaken by the boys, who then find themselves led westward by the horse, followed by both their father and the authorities.

All such journeys, of course, are journeys into both history and self knowledge; and it is here the film excels, gradually spinning out for us, with as few words as possible, the tale of a lost wife and mother, while showing us how the uncertain quest brings both father and sons to a better understanding of themselves, their history, and each other.

The film is painterly, well-acted (with especial kudos to the children) and splendidly edited--with no endless chase scenes (no more than necessary, anyway)--and with one of the most perfect and revealing climactic shots ever filmed--full of magic and metaphor--with never a word or a heavy-handed image.

`Into The West' is the perfect film for discriminating film lovers who want to watch some superb cinema with their kids-or without them.

P.S. My seven-year-old daughter loved it.

So here's a movie about two poor kids who befriend a snow-white horse. The kids love fairy tales and cowboy movies, and they escape from the projects on the back of the horse, who takes them on sort of a tour of Ireland.

And the horse is named after Fairyland.

And the horse might just be the reincarnation of the boys' mother.

There is a reason why "Into the West" isn't nearly as hellish as it sounds here, and it's Gabriel Byrne. He plays the boys' father, a former "gypsy" (more correctly, a Traveler) who gave up the road after his wife died. He has sunken ever deeper into depression the more his youngest son grows to remind him of her, and this is the real focus of the film and it's emotional core. "West" is truly beautiful and has some great pathos.

Don't let the cheesy video cover put your off. This is a gem of a family movie that uses a wee bit of magic to pull a dysfunctional Irish family back together. This is not a Disney film. The actors lack Hollywood's plastic sheen and cutesy appeal--they're real and honest, and good. You know from the start that this story will end happily, but there are some interesting surprises along the way, and at the end, you feel like you've just seen a piece of literature, not popcorn entertainment.

I give this film 9/10. My 12-year-old gave it 10/10, and my sometimes-cynical husband acknowledged "Yeah, it's a pretty good movie." That's high praise indeed.

Two gypsy boys take back their horse after it was taken away from them by the local authorities. They had many adventures while racing across country dodging the law. The 2 boys were from a clan of societal parasites who wanted to live a free life but were victims of a welfare mentality. These folks didn't seem to understand that as long as they took from the government, the government would own them. A passable film, but hokey.

This is a deceptively complex movie. The basic plot outline of the Traveler boys stealing their horse back and leading police on a cross country chase suggests a simple boys adventure tale. And so it is. But it is also a commentary on Irish society. After all, it is a policeman and an industrialist who combine to steal the horse and change its name from the Irish Tir na nOg (based on an ancient legend) to National Security. (Do you really need me to point out the obvious symbolism there?) The subtext of the movie is about Ireland's beleaguered unique culture and identity fighting to assert itself. Of course, if you choose to focus solely on the plot and the humor, you'll have a great time. But if you look beneath the surface, you will find so much more.

"Into the West" (1992) rides the balance beam between adult drama/adventure and children's fantasy, sorta like the contemporaneous "The Secret Garden." If you like that more popular film "Into the West" is worth checking out because it has the same feel -- musically, geographically, thematically and execution-wise -- which is not to say it's as good IMHO.

The story revolves around a disillusioned Traveller (Gypsy) who lives in a towering governmental project of Dublin with his two young sons. The kids apprehend a stunning white horse through their grandfather who refuses to leave behind his heritage. The horse is the key to healing for the father (Gabriel Byrne) and his family. The beautiful Ellen Barkin is also on hand as a Traveller.

The plot's also reminiscent of 1979's excellent "The Electric Horseman." Both films involve fugitives fleeing civilization on horses. "The Electric Horseman," however, is squarely an adult film whereas "Into the West" tries to appeal to kids. And this reveals the film's weakness for me: The kids aren't interesting and you can barely make out what their saying with their thick Irish accents (as such, I recommend using the subtitles, unless you're from the Emerald Isle or UK).

I should point out that when I say this is a "children's film" I don't mean in the sense of a cheery, saccharine Disney film (not that there's anything wrong with that, lol) because "Into the West" is anything but, although there are some fun, humorous touches, like watching TV through the hole in the wall and the horse staying in the apartment.

The fact that this is partially a children's film can be observed in the awkward manner in which the final act on the lonely seashore is set-up. Let me quickly add, however, that I shed a couple tears so it wasn't so awkward to destroy the impact of the film. It was just awkward in a roll-your-eyes manner.

The haunting, desolate landscapes and stunning seashores of Ireland are a highlight, as is the horse. In addition, the film is a great way to expose yourself to the fascinating Traveller culture of Ireland.

The film runs 97 minutes.

GRADE: B-

This excellent movie deals with issues of identity, death and family. It is also a very funny and gentle fantasy (set in contemporary times) about two Irish boys and their magical horse.

This may sound silly to many. I wouldn't even fault anyone for having passed on it during its initial theatrical release or for passing it by in the video store. The marketing of this movie made it seem like a wacky, silly movie about kids getting into and out of several situations with their horse. The only reason I even saw it was faith in the cast and crew. I feel I was well rewarded.

The performances are exceptional. The two boys behave in a completely natural way without resorting to traditional "cutesy" mannerisms and expressions (which isn't to say the movie does not have its cute moments. ..it's just that they don't seem forced when they happen). Gabriel Byrne's performance is absolutely beautiful. Even though the movie is about the kids and the horse (at first glance) it really is about him and his character's denial of what he really is and how he is set right again.

The cinematography, direction and music are all superb. You won't be disappointed if you just give it a chance.

Ossie and Tito are young brothers living in the tower blocks outside of Dublin. Their family are travelers or gypsies. Their father Papa Reilly (Gabriel Byrne) is a drunk and had stopped traveling ever since the death of his beloved wife. His wife's father would often tell the grandsons Irish folklores. One day, a magnificent white horse follows the grandfather home. The horse takes to the young boys and starts living in the apartment block.

I would have liked the movie to follow more with the two boys. At its core, this is a simple road movie. I want more movie theater situations. I would have like to have the actual horse jumping tournament scenes. It would be nice for the boys to encounter some supporters or general nice people. A lot of people would find them appealing Robin Hood figures or animal welfare fighters or that they are darling little boys. I care less with Papa Reilly. He and grandpa should be together searching for the boys. Ellen Barkin comes in rather late. All that seems secondary to the boys' road trip. I also find the nets rather silly. That section needs some more work.

Into the West (1992) is one of those cinematic gems that masterfully uses its breathtaking locations, particularly in Dublin and the west of Ireland, to take viewers on an emotional and magical journey. For anyone with a fondness for Irish cinema and stories rooted in the country's rich culture and folklore, this film is truly a treasure. It delivers a memorable experience, both visually and narratively.

One of the film's standout strengths is its artistic use of locations. Ireland, with its stunning natural landscapes-from its majestic mountains and serene lakes to the winding streets of Dublin-provides the perfect backdrop for a story of such depth. As the tale of two young brothers, Tito and Ossie, unfolds, the audience is drawn alongside them, from the urban confines of the slums to the wide, open spaces of Ireland's countryside.

The performances of the cast play a crucial role in conveying the film's emotions. The strong and natural acting, particularly from Gabriel Byrne and the two young actors, brings the characters to life in a believable way. The emotional connection between these characters and their challenges during their journey is beautifully portrayed by the actors. This connection reaches its peak through their relationship with the magical horse, Tír na nÓg, which symbolizes freedom and escape.

The film's music is also a key element in creating the right atmosphere for this story. The carefully selected and skillfully composed music creates a nostalgic and memorable ambiance that evokes specific moments of the film each time it's heard. The music not only enhances the beauty of the visuals but also deepens the emotional resonance of the story.

The narrative of the film is beautifully and gracefully told. The story of the two young brothers' journey to the west unfolds well in terms of both structure and content, keeping the audience engaged. By incorporating Irish folklore and blending it with the real world, the film creates a profound connection between culture and imagination. These references to Irish legends and the interaction between the characters and animals, especially the horse, add to the story's charm while imbuing the film with additional layers of meaning and significance.

In conclusion, Into the West, as an Irish film, successfully brings together all the necessary elements to create a memorable cinematic experience. The beautiful locations, strong performances, evocative music, and captivating storytelling all combine to make a film that is not only enjoyable for fans of Irish cinema but also for anyone seeking deep and meaningful stories. However, it's worth noting that some aspects of the film, particularly in character development, could have been improved to provide an even stronger and more lasting impact. My overall rating for this film is 7 out of 10, reflecting an appreciation for the filmmakers' efforts, though with room for enhancement.

This is a simple movie that keeps you thinking for days about it. Watch the expressions on the kids faces during the movie: great performances. There is a lot in this movie to analyze --- have fun. Finally, it reminded me a little of 'Local Hero' because of its subtle tones('Local Hero' is much more quirky though and more subtle).

I first heard about it in National Review, where it was praised by the great John Simon-- checked it out at the video store and it became a favorite of everyone.

First-rate performances, especially liked the grandfather (whom you'll recognize as playing Michael in Waking Ned Devine); and the boys are superlative.

Movies in which animals are a major part of the story and presented as more knowing or powerful than an animal should be are kind of tricky to do well--so many times, the director relies on clichéd reaction shots, such as dogs covering their eyes with their paws--but the beautiful horse is well done as a character, conveying a mystery and aloofness that fits neatly with the plot.

Treat yourself to this one.

A very entertaining and interesting film on several levels.

Educational: about the life of the Tinkers or Travelers and the prejudice against them.

Entertaining: the little boys are lovable and delightful.

Mythical: where did the wonderful white horse come from and go?

Beautiful: country and seaside scenery and photography contrasted with crowded city scenes.

Romantic: he lost a wife he loved and left the wandering life, but returns to it when a lovely woman appears.

This film has everything! One of my All-Time Favorite movies!

I was most taken with this film when it came to town in the fall of 1993. Dealing with the issues of reconciliation, death, family against a background of Irish myths, this story was a most unique approach. Initially marketed as a child's film, it really is more of an adult film and any adults who take the time to view it will go away satisfied and rewarded. In addition, the soundtrack is absolutely wonderful and worth owning on its own merit.

This is a wonderfully told tale of poignancy and intelligence and humor, with a literary touch and wonderful performances all around. I just saw it on HBO after not having seen it since its theatrical release, and loved it just as much again after all these years. I do find some of the other comments here of PC silliness. I'm reminded of some press reviews for "Captain Phillips" that said the Somali pirates were pure victims acting as only they could have, as repressed Third Worlders. But in the movie itself they were largely and accurately portrayed as criminal types who could have acted differently and ended up reaping what they sowed. Some comments here similarly suggest the Travellers/Tinkers/Gypsies in "Into the West" are pure victims, when the movie itself portrays them as certainly victims in part, but also, in part, reaping what they've sowed (making up false names to sponge off their fellow citizens, faking illness when panhandling). It was this unvarnished look at the Travellers—whom you root for in the film—that contributes to making this such an effective, nuanced movie.

This is a movie that takes you into a world of children's fantasy, the intense love that bonds a family, and masterful cinematography, scripting and performance. What else could any moviegoer ask for? It's the kind of film every filmmaker desires to be a part of. Although I found the film at my local Blockbuster video store tucked away on the Children's shelf, this is anything but a sappy family film that so often inhabit the world of the simplistic often dopey family category. The two boys in the film are terrific and Gabriel Byrne is excellent as the disconnected father and widower. And yes, beautiful scenery is often just that but here the magnificent landscape is as much a part of the story as the plot line. Treat yourself!

Its more than a typical "family" film. Personally Im not into cozy melodramatic family films. And if you're not, you should like this. Its a cheer-up kind of movie and I don't mean its sappy and for kids only. Heres a run-down of the films best features:

* Gabriel Byrne!

* A different kind of feel here with much emphasis on family ties and a sense of turning things around for the better.

* A beautiful white horse that makes you want to find a magical horse of your own. The horse's acting is lovely as well!

* Great portrayals of Irish "Gypsy life" instead of cheap stereotyping that you usually find. You root and hope for them all the way.

* Ellen Barkin does an awesome job with her character and she can do a great Irish accent. Colm Meany is also in this film and hes cool as usual.

* Adorable children who know how to act better than a lot of adults.

* And.....did I mention Gabriel Byrne? 8P

A beautiful heartwarming emotional movie. You will laugh and cry. A timeless classic one of the best Irish movies ever made.