Jockey (2021)

Jockey review by Mark McPherson - Cinema Paradiso

Jockey is the type of movie you could easily see Clint Eastwood directing as a somber, slow-moving picture of his twilight years. It involves older characters contemplating their past and harping on the youth of tomorrow. It has a bittersweet edge to how our central character goes through an internal struggle of how much life they have left. And it’s also a beautiful picture of gorgeous cinematography of setting and rising suns amid riding horses. It’s that sweet dose of elderly Americana that resonates so well.

The film follows the aged jockey Jackson Silva (Clifton Collins Jr.). Despite his age, he’s a man who is determined to stay on that horse for as long as he can. All signs, however, point to his time being up. His health is reaching a point where he will no longer be able to race around the track. He watches somewhat helplessly as one of his old friends finds himself at death’s door, unable to race again. His friend remarks that he’s not afraid of death, just afraid he will never get another chance to ride. There’s a quiet depression that wafts over Jackson, one that he chooses to bury with neglect and booze.

Some hope for his legacy comes when he meets his estranged son, Gabriel Boullait (Moisés Arias). At first, Jackson tries to make amends with his son but Gabriel wants little to do with him. Jackson may not have time for his son given all the training he has to accomplish for his upcoming championship which may be his last race. But when that race is finished, what will be next? Will he merely fade away? Instead of going quietly into the darkness, Jackson tries to convince Gabriel that he can train to be the next generation of horse racers. It won’t be easy, however, as Gabriel finds himself somewhat unwilling to pursue that life. Even if Jackson convinces him, he’ll also have to push Gabriel through the toughest of training.

The film is one part somber contemplation drama and one part sports training picture. We get plenty of scenes around the track and stables where Jackson attends to chores and places Gabriel through training involving bending, sweating, and tough exercises before he starts jumping on horses. The dialogue is spare in this film, letting more of the amazing cinematography and ease of acting carry the picture. There are so many moments that are just fascinating to watch. By the time the film gets to the big race, there’s a sense of completeness. We don’t see the race from a distance. It is portrayed entirely from the face, showcasing how much elation a rider feels when in the moment. It makes Jackson’s words about how everything melts away on the track all the more meaningful.

Jockey is not an exciting sports drama but very much a meaningful one. It’s not a picture to watch if you’re hoping to see lots of fast footage of horses dashing around the track from multiple angles. But if you’re in the mood for some moody Americana, this is a tender and enduring picture.