The first act of “War Horse’’ is its most nakedly nostalgic, with camera shots evoking the long, glowing corridors and side-lit doorways of Ford’s “How Green Was My Valley’’ and “The Quiet Man.’’ Silhouettes at sunset, Albert’s sainted mother (Emily Watson), a girl passing through with the red Technicolor hair of Maureen O’Hara - this is the work of an obsessive movie-lover recombining the pieces of his passions.
When the colorful Devon townsfolk lean along a fence, watching as Albert and his thoroughbred struggle to plow a field, the director's more focused on evoking Fordian community (" The Quiet Man ," " How Green Was My Valley ") than Joey's potential laming as the thoroughbred's fragile legs give way.
The first section may remind one of John Ford's The Quiet Man (1952).
There are hints of "How Green was My Valley" and "The Quiet Man" as Spielberg points his lens at majestic skies, rolling hills, farm field fences and colorful townsfolk.
But any resemblance to the real Britain circa 1910 is accidental; this part of “War Horse” is really set in the imaginary version of places like Devon as mythologized by Hollywood, notably in John Ford classics like “How Green Was My Valley” and “The Quiet Man.” (I am aware that those movies are set in Wales and Ireland, respectively; those distinctions are lost on most American viewers, and in the cinematic context they don’t much matter.)
…lighting and cinematography) bring to mind classic films like The Quiet Man and similar pictures of that era.