Expeditures on Making Studio Films

A second line has to do with the refinement of Seabiscuit's racing career and the way in which, as Hillenbrand says, the horse "captured the the Statesn imagination" (xix). The third has to do with the human stories running in parallel to Seabiscuit's, in loticular proposition the story of the flawed plainly all-heart jockey. These lines of action are plant in the narrative of Seabiscuit's rise from the depths, as well as his development, personality quirks, training, heart, racing prowess, and celebrity.

In the background of all is a master historical narrative, the Great first, which specifically bookends the film by way of period photographs designateing manifestations of America's most far-reaching economic catastrophe--bread lines, full and dispirited masses, the one-third of a nation that FDR famously verbalise was "ill-housed, ill-clad, ill-nourished" (Leuchtenburg 231). So important is that narrative to Seabiscuit, indeed, that the film opens as if it were an American Experience documentary, complete with a resonant voice-over narration. In whatever case, the message that context helps explain narrative is duly delivered. That is itself explained by the concern of Laura Hillenbrand, author of the book on which the film was based, to show that the horse was something of a port in the storm of the Depression.

The Depression in the film adaptation is portrayed with respect to rubor Pollard'

That spirit, in turn, awakens the spirit of a depressed America. In that regard, Seabiscuit got more press coverage in 1938 than any other public figure of any species, a fact that points up the horse's ability to capture the imagination of the self-colored country. The agent of linkage between Seabiscuit and a rejuvenated, inspired America is twofold. In the manifest narrative, the character of Tick-Tock, a fictional class of the hard-boiled but sentimental reporter who is styled as a racetrack radio broadcaster. He functions as a diverseness of chorus to the action, voicing all the clichTs about the horse--from voluble irresolution to cheerleading enthusiasm for the tot up-from-behind story--as he describes Seabiscuit's races, injury, and challenge matches with War Admiral.

Tick-Tock is the voice of fashionable American sentiment, always expressing vulgar majority opinion, wherever it whitethorn reside. Thus in the early days of the horse's celebrity he says, "This nag Seabiscuit couldn't even finish six furlongs." Later, Tick-Tock, like e precisebody else, is Seabiscuit's greatest fan.

The three characters are, each in his way, noncitizens in the racing-world milieu where they come together. While that is a rich man's environment that Howard owns, Smith and loss better understand it. That dynamic runs in parallel with the outsider status of Seabiscuit, related to the mighty Man o' War but relegated to the backwaters of horsing because he has the wrong look. Just as Smith becomes part of the peculiar working family belonging to Howard, Smith creates for the excitable Seabiscuit an flimsy animal family--a companion horse and a dog--which enables Seabiscuit to relax. The comradeship of domain and animals visually fitting awkwardly together nevertheless (or for that very reason) bring out the champion spirit in Seabiscuit.

s youthful picaresque experience around carnivals and stables. Equally, the inevitability of U.S. industrial enterprise is portrayed in the persona of Tom Smith, the tacitu
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