Fouhetty Jean-Pierre Grenie as Narrator (French language) Charles Guillaume Pascal Lamorisse Pierre Moureaux-Nery Francois Perie Laurent Roche Frank Silvera as Narrator (English language) Les Marshak as Narrator (English language) Background The horse The story is based on real horses that are found in the Camargue region in southeast France. For centuries, possibly thousands of years, these small horses have lived wild in the harsh environment of the wetlands of the Rhône delta, the Camargue marshes, developing the stamina, hardiness and agility for which they are known today. They are the traditional mount of the gardians – Camargue "cowboys." Camargue horses galloping through water, as does Crin Blanc in the film, are a popular and romantic image of the region. Filming locations The film was shot entirely on location in the southeast region of France; specifically the Petite Camargue (little Camargue), Bouches-du-Rhône, France, a marsh area located south of Arles, between the Mediterranean Sea and the two branches of the Rhône river delta. Critical reception The film, since its first release in 1953, has generally received favorable reviews from critics. When the picture was rereleased in late 2007 by Janus Films, Terrence Rafferty, in The New York Times, said the short "is among the world's most famous and most honored films for children... But kids' stuff [it is] not... The tone of [the] film is that of open mouthed wonder." In White Mane, Rafferty wrote, "you sense, as in few other films, the real terrors of nature... And Lamorisse, [the] movie show[s], really was a remarkable artist: one of the cinema's best poets and a fearless explorer of the scary and exhilarating outbacks of the imagination." Philip Kennicott in The Washington Post liked the mise en scène, writing "there are perfectly worthy reasons to keep [the film] in circulation. Visually, [it is] masterful." However, Kennicott argues that the film takes place in a world of lies. He wrote, "A boy and his horse are hunted down by adult ranchers — while a narrator makes vague promises of a better world to come. The beautiful imagery of [the film] is deployed in support of a moral system — a blunt promise of rewards for good behavior — not much more sophisticated than that of Santa and the Easter Bunny. Ah, the time-honored tradition of adults indoctrinating kids in a world-view that will lead only to bitter disappointment, unless the kids refuse to