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National Velvet is a novel by Enid Bagnold (1889–1981), first published in 1935. It was illustrated by Laurian Jones, Bagnold's daughter, who was born in 1921. The novel tells the story of a teenaged girl who wins a horse racing competition. It was a best-seller, and adapted into a highly successful 1944 film and a 1960-62 television series.

Key Information

Plot summary

[edit]

National Velvet is the story of a 14-year-old girl named Velvet Brown, who trains and rides her horse, named The Piebald, to victory in the Grand National steeplechase.

The novel focuses on the ability of ordinary people, particularly women, to accomplish great things. Velvet is a teenager in the late 1920s, living in a small English coastal village in Sussex, dreaming of one day owning many horses. She is a high-strung, shy, nervous child with a delicate stomach. Her mother is a wise, taciturn woman who was once famous for swimming the English Channel; her father is a butcher.

Velvet's best friend is her father's assistant, Mi (Michael) Taylor, whose father – as Mrs. Brown's swimming coach – helped her cross the channel. Mi formerly worked in stables and is familiar with the horse racing world. One day they both watch The Piebald jump over a five-foot-high cobbled fence to escape a field. Mi remarks that "a horse like that'd win the National".[1] Velvet becomes obsessed with winning the horse in an upcoming raffle and riding him to greatness.

In addition to inheriting several horses from one of her father's customers, Velvet also wins The Piebald, her dream horse. After riding him in a local gymkhana, she and Mi seriously consider entering the Grand National steeplechase at Aintree racecourse and train the Piebald accordingly.

Mi uses his connections to the horse training/racing world and obtains a fake clearance document for Velvet in the name of James Tasky, a Russian jockey. Velvet wins the race, but is disqualified for dismounting too soon after she slides off the saddle due to exhaustion. Her gender is discovered in the first-aid station.

The racing world is both dismayed and fascinated by a young girl's winning its toughest race. Velvet and The Piebald become instant celebrities, with Velvet and her family nearly drowning in notoriety (echoing her mother's unsought fame after swimming the English Channel), complete with merchandising. Velvet strongly objects to the publicity, saying The Piebald is a creature of glory who should not be cheapened in tabloid trash and newsreels. She insists that she did not win the race, the horse did, and she simply wanted to see him go down in history. The National Hunt Committee finds no evidence of fraud, exonerates all involved, and Velvet and her family return to their ordinary lives; or rather, Velvet goes on "to her next adventures", for clearly she is a person to whom great things happen.

Film adaptation

[edit]

The novel was made into a more or less faithful, highly successful film version in 1944, starring twelve-year-old Elizabeth Taylor and Mickey Rooney, with Donald Crisp, Anne Revere and a young Angela Lansbury. The screenplay was written by Helen Deutsch.[2] In 2008 the film was voted the ninth best American film in the sports genre.[3][4] In the film the horse, who was solid coloured, hence not a piebald (British English) or pinto (American English), was renamed The Pie.[5]

Radio adaptation

[edit]

National Velvet was presented on Hallmark Playhouse on the CBS radio network on 6 October 1949. The half-hour adaptation starred Roddy McDowell and Anne Whitfield.[6]

Television adaptation

[edit]

From 1960 to 1962, the novel was adapted into a thirty-minute American television series, with Lori Martin, Ann Doran and James McCallion. In this version her horse was named King. This aired on NBC for 52 episodes.

Film sequel

[edit]

A 1978 film sequel, International Velvet, was made starring Tatum O'Neal as Sarah Brown, a young orphaned American teenager living in England with her aunt Velvet Brown (Nanette Newman) after Sarah's parents die in a car accident. Sarah and Velvet purchase the descendant of The Pie after Sarah earns the money by working for Velvet's boyfriend John. They name him Arizona Pie after Sarah's home state. Working with Arizona Pie, Sarah is selected to represent Britain in the equine three-day Olympic event. While working with the horse with trainer Captain Johnson (Anthony Hopkins), she falls for an American competitor, Scott Saunders (Jeffrey Byron). Though distracted by him, she wins the event. Later, after getting engaged to Scott, Sarah returns to England and presents the medal to her aunt Velvet as a keepsake and introduces her and John to Scott.

References

[edit]
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National Velvet

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National Velvet is a 1935 children's novel by British author , centering on 14-year-old Velvet Brown, a horse-loving girl from a village who wins a horse in a and, with the help of a drifter named Mi Taylor, trains it to compete in the prestigious steeplechase race. The story explores themes of determination, family bonds, and the pursuit of dreams against societal constraints, particularly gender barriers in . Bagnold, born Enid Algerine Bagnold in 1889 in Rochester, , drew inspiration from her own experiences with horses and rural life; she wrote the novel while living in , , where her family owned a racing stable. Published amid the , National became Bagnold's most famous work, blending poetic prose with shorthand-style dialogue that captures the quirky dynamics of the family, including Velvet's butcher father, athletic mother, and three sisters. The novel's vivid portrayal of equine passion and youthful ambition resonated widely, establishing it as a classic of . The book's success led to a celebrated 1944 Metro-Goldwyn-Mayer film adaptation directed by , which propelled 12-year-old to stardom in her first major role as Velvet, alongside as Mi Taylor. Filmed with locations in standing in for , the movie faithfully captures the novel's spirit while amplifying its visual appeal through dynamic racing sequences and the real-life chemistry between Taylor and her co-star horse, King Charles. Released on January 26, 1945, during , National Velvet offered audiences an uplifting tale of hope and triumph, earning five Academy Award nominations, including Best Picture, and wins for Best Supporting Actress ( as ) and Best Film Editing. Beyond its initial impact, National Velvet has endured through numerous reprints and cultural references, symbolizing the transformative power of imagination and resilience in both literary and cinematic forms. The work continues to inspire horse enthusiasts and young readers, highlighting Bagnold's unique voice in 20th-century .

Background

Enid Bagnold

Enid Algerine was born on 27 October 1889 in , , to Colonel Arthur Henry Bagnold, commander of the Royal Engineers. Her early childhood was spent partly in , where her father was posted, and she learned to ride horses there, an interest that persisted throughout her life. Educated at the progressive Prior's Field School in , , from 1902 to 1906 under headmistress , Bagnold later studied art in , , and under in Chelsea. Before , she became part of London's bohemian social scene, frequenting artistic circles and establishing herself as a vibrant . During the war, Bagnold served as a nurse at the Royal Herbert Hospital in , experiences that informed her debut publication, A Diary Without Dates (1917), a collection of observations on hospital life that marked her entry into . In 1920, she married Sir Roderick Jones, managing director of news agency, with whom she had four children: daughter Laurian (born 1921, who later illustrated some of her mother's works) and sons Timothy, Richard, and Dominick. The family settled in , , in 1923, where Bagnold embraced rural family life, including keeping horses that influenced her writing. Her later career included acclaimed novels such as The Squire (1938), exploring themes of maternity and estate life, and The Loved and Envied (1951), a study of aging and beauty; she also wrote the play Lottie Dundass (1943), a domestic about a widowed mother's struggles. Bagnold's personal experiences with horses and family dynamics in directly shaped her novel National Velvet. In recognition of her contributions to literature, she was appointed Commander of the (CBE) in 1976. She died on 31 March 1981 in her apartment in , , at the age of 91, and was buried in .

Inspiration and development

Enid Bagnold drew significant inspiration for National Velvet from her family's deep involvement with during the 1920s in the countryside. Observing her daughters' intense passion for riding and their ownership of a —a skilled jumper that mirrored the novel's central equine character—sparked the core idea of a young girl's transformative bond with an unconventional mount. This personal experience was amplified by the Bagnolds' own racing stable, which immersed the household in equestrian culture and fueled Bagnold's imaginative exploration of ambition and freedom through horsemanship. The novel's backdrop reflects the rhythms of rural English life in the , capturing the quiet resilience of post-World War I recovery in coastal villages like , where Bagnold resided. The iconic steeplechase at served as a pivotal influence, symbolizing the era's blend of tradition, risk, and communal spectacle amid economic and social rebuilding. Bagnold wove in elements of Sussex's pastoral landscapes and village dynamics, evoking a sense of grounded yet aspirational existence between the wars. Bagnold began drafting National Velvet in the early 1930s while living at North End House in , a period marked by her attentiveness to family interactions and local customs. The writing process drew heavily from her household's lively dynamics, including the spirited energy of her children, and incorporated the culture of the village's shops, which informed the working-class family's trade and daily routines. Local figures, such as the Hilder family of s, provided a template for ' robust domesticity, blending real-life observations with fictional invention to create an authentic portrayal of community life. Her husband, Sir Roderick Jones, chairman of the news agency, played a key role in the book's early promotion through his extensive media connections, which facilitated initial publicity and distribution channels in literary circles. During title deliberations, Bagnold considered options that emphasized the equestrian adventure but ultimately settled on National Velvet to highlight the race's prestige. The choice of a young female protagonist stemmed from Bagnold's unconventional perspectives on , challenging interwar norms by depicting a pursuing equine glory in a male-dominated domain.

Publication history

Initial publication

National Velvet was first published in 1935 by William Heinemann in the and simultaneously by William Morrow & Company in the United States. The novel appeared as a edition comprising 303 pages in the US version, featuring line drawings by the author's daughter, Laurian Jones (born 1921), who contributed sketches depicting horses and domestic family scenes throughout the book. Although marketed primarily as a children's book, National Velvet quickly appealed to adult readers with its blend of adventure and emotional depth. In the UK, the initial offering was priced at 7s 6d, reflecting standard pricing for Heinemann's at the time. The release benefited immensely from its selection as a title, which propelled immediate commercial success and widespread distribution. This endorsement contributed to robust early sales, establishing the as a breakout hit shortly after launch. Contemporary critics acclaimed the work's enchanting qualities.

Editions and reprints

Following its initial publication, National Velvet saw several early reprints that helped sustain its popularity, particularly in paperback formats accessible to wider audiences. In the United States, Grosset & Dunlap issued reprints during the late 1940s and 1950s, including a 1949 edition and a 1958 Junior Deluxe Edition with illustrations by Walter Seaton and Earle B. Winslow, which catered to young readers amid the book's growing fame from the 1944 film adaptation. Notable illustrated editions emerged to enhance the novel's visual appeal, often tying into its equestrian themes. The original 1935 UK edition featured line drawings by Laurian Jones, the author's daughter, which were retained in many subsequent printings. A 1949 US edition by William Morrow included new illustrations by equine artist , providing a fresh interpretive layer to the story's horse-centric narrative. Following Enid Bagnold's death in 1981, a reprint by Buccaneer Books that year served as a commemorative edition, preserving the text with Jones's original artwork. The has been translated into numerous languages, reflecting its international appeal, though specific early translations such as a 1936 French edition titled Velours National and a 1937 German version remain documented primarily through bibliographic rather than widespread commercial availability today. Later translations appeared in Japanese during the , contributing to the book's global readership among young horse enthusiasts. Modern editions continue to make National Velvet accessible in various formats. released an affordable paperback in 2019 as part of its Children's Evergreen Classics series, featuring the original Jones illustrations and aimed at contemporary young readers. has offered digital e-book versions since around 2010, facilitating electronic distribution while maintaining the unaltered text. In 2025, published a new edition ( 9780008726669, 352 pages). Across editions, changes have been minimal, limited primarily to updates in , illustrations, and binding materials, with no major textual revisions due to the author's satisfaction with the original . This fidelity to Bagnold's 1935 wording has preserved the novel's distinctive prose and character voices in all reprints.

Plot and characters

Plot summary

Set in the 1920s in rural , , the story unfolds primarily around the Brown family's butcher shop and the surrounding countryside, where 14-year-old Velvet Brown lives with her parents and siblings in a bustling, affectionate household. The inciting incident occurs when Velvet wins an unruly horse named in a village and inherits several other horses from a wealthy neighbor who dies by , transforming her passion for horses into a tangible opportunity as she decides to train the spirited animal despite its wild nature. In the rising action, Velvet embarks on a secret training regimen with the help of Mi Taylor, a drifter employed by her father, preparing for the prestigious steeplechase, with Velvet planning to ride disguised as a boy; her family provides crucial support, including her mother, a former Channel swimmer known for her own feats of endurance, and her practical father who accommodates the growing stable of horses. The climax builds to The Pie's triumphant victory in the Grand National, a grueling race marked by intense competition and dramatic jumps, with Velvet riding disguised as a ; however, after the win, she faints and falls off, revealing her gender and sparking controversy over her eligibility as a rider. In the resolution, Velvet experiences brief fame as "National Velvet," captivating the public imagination, yet she ultimately rejects the ensuing publicity and spotlight, returning to her ordinary life in Sussex with strengthened family bonds and a deeper appreciation for her personal achievements beyond trophies.

Characters

Velvet Brown is the 14-year-old protagonist of the novel, a horse-obsessed young girl from a working-class family in rural Sussex who exhibits fierce determination in pursuing her equestrian dreams. Described as plain-featured on the outside, she possesses an inwardly poetic and vibrant spirit that drives her evolution from a wide-eyed dreamer to a resilient racer capable of facing intense challenges. Her relationships with family and mentors fuel her growth, particularly her close bond with the drifter Mi Taylor, whom she enlists as a trainer. Mi Taylor, a cynical ex-jockey and drifter in his early twenties, arrives at the household seeking work and becomes Velvet's dedicated trainer for her . Haunted by past failures in the racing world, including the shadow of his famous father Dan Taylor, Mi initially appears world-weary and opportunistic but gradually finds personal redemption through his guidance of Velvet and her mount. His relationship with Velvet develops into a marked by mutual respect, as he shares his expertise without gender-based prejudice, helping her refine her skills while confronting his own disillusionment. Mrs. Brown, known as Ara or Araminty, serves as the strong-willed matriarch of the , a former swimmer whose quiet ambition and pragmatic outlook shape the household dynamics. In her forties, she embodies reliability and , offering steadfast support for Velvet's aspirations by providing financial backing and emotional encouragement without overt sentimentality. Her to Mr. Brown reflects a of complementary strengths, where she often mediates decisions with and firmness. Mr. Brown, the jovial butcher father and head of the household, brings through his boisterous personality and provides essential for the family. Gruff in demeanor yet soft-hearted, particularly toward Velvet, he represents working-class resilience in the village setting, often yielding to his wife's judgments despite his domineering tendencies. His interactions with the children, including hiring Mi, underscore his role as a provider who balances sternness with underlying affection. The supporting cast includes Velvet's three older sisters and younger brother, who add depth to the family portrait: Edwina, the eldest at 17, is vain and self-interested with romantic daydreams; Malvolia (often called Mally), around 16, is a tomboyish figure known for her pragmatic and direct nature; Meredith, 15, is nurturing and fond of animals, particularly birds; and , about 4, is humorous and vibrant. These siblings form a close-knit group with Velvet, sharing in everyday chores and offering varied perspectives on her pursuits. , the central equine "character," is a wild-tempered won in a , possessing a spirited and unpredictable nature that mirrors a human-like individuality, requiring patient handling to reveal his potential as a racer. Velvet's profound bond with drives much of the narrative, as his untamed temperament tests and transforms their partnership.

Themes and analysis

Key themes

One of the central themes in National Velvet is ambition and achievement, exemplified by Velvet Brown's relentless pursuit of entering and winning the Grand National steeplechase with her horse, , despite the event's reputation as an insurmountable challenge for amateurs. This quest symbolizes the potential for ordinary individuals, particularly from modest backgrounds, to attain extraordinary success through determination and vision, as Velvet meticulously trains The Pie by having him jump local fences and hills to build endurance. Bagnold portrays this drive as an innate force, with Velvet praying nightly for the strength to realize her dreams, underscoring how personal aspiration can transcend practical limitations. Gender roles and female empowerment are prominently explored through the unconventional portrayals of women in the Brown family, challenging interwar England's expectations for girls and mothers. , Velvet's mother, is depicted as a former Channel swimmer whose athletic past and pragmatic support for her daughter's equestrian ambitions defy traditional domestic confines, providing the financial backing from her own earnings to fund the race entry. Velvet herself embodies empowerment by disguising her to compete in the male-dominated , riding as a half-Russian boy and proving that girls can excel in physically demanding pursuits typically reserved for men. This defiance highlights Bagnold's critique of societal norms, as Velvet's success relies on subverting barriers while drawing strength from her mother's trailblazing example. The bond between humans and animals forms a foundational motif, illustrated by Velvet's empathetic connection with The Pie, which transforms the unruly gelding into a capable racer through mutual trust and understanding rather than dominance. Bagnold emphasizes kinesthetic empathy, where Velvet's physical and intuitive rapport with the horse—such as sensing his needs during training and whispering encouragements—fosters reciprocal growth, allowing The Pie to overcome his initial wildness. This relationship underscores themes of partnership, as Velvet views The Pie not as property but as a collaborator in her dreams, culminating in their shared triumph during the race. Childhood innocence contrasts sharply with encroaching reality, captured in Velvet's poetic and horse-obsessed clashing against adult and hardships. At fourteen, Velvet inhabits a of untainted wonder, galloping imaginatively with from magazine clippings and ignoring practical concerns like her family's business, yet she confronts cynicism from figures like the world-weary Mi Taylor, who tempers her with jaded advice. This tension reflects the novel's exploration of as a bridge between naive fantasy and the sobering demands of maturity, with Velvet's fueling her audacity even as family responsibilities intrude. The novel's setting evokes rural life and class dynamics, blending the pastoral beauty of the English countryside with the gritty realities of working-class existence in . The Brown family, operating a butcher shop amid rolling hills and routines, represents aspiration amid economic hardship, as their modest means do not deter dreams of grandeur like the Grand National. Bagnold weaves in class elements through interactions with outsiders like the itinerant Mr. Cellini, whose gift of horses to bridges social divides, illustrating how rural traditions of and resilience enable upward mobility despite limited resources.

Critical reception

Upon its 1935 publication, National Velvet received widespread acclaim from contemporary reviewers for its humor, charm, and vivid depiction of rural English life. Fanny Butcher of the Chicago Daily Tribune described it as a "delightful whimsy," praising its potential as one of the finest short novels of the year. John Chamberlain in Current History hailed it as "magnificent ," while Harriet Colby in Books commended its sophisticated, candid, eloquent, witty style, marked by "sudden and lovely" insights into family dynamics and equine passion. A review in the News emphasized its fresh and engaging horse narrative, predicting it would win lifelong devotion from readers beyond typical children's audiences. In post-World War II analyses, the novel was often interpreted as escapist literature, providing an idyllic counterpoint to wartime hardships through its fantastical yet grounded tale of ambition and triumph. Feminist readings emerging in the and beyond highlighted its subversion of gender norms, with Velvet's defiant entry into the male-dominated symbolizing female agency and . Scholars noted how the story challenges class barriers as well, portraying a working-class girl's ascent through determination rather than privilege, though some critiques pointed to stereotypical depictions of rural simplicity. Modern reinterpretations continue to praise National Velvet for its inventive, lively prose and psychological depth, particularly in championing non-conventional female bodies—such as the plain, toothy and her unapologetically fleshy Araminty, who revels in her appetites without shame. However, some analyses criticize its narrative implausibility, such as the abrupt skips in and the improbable race victory, alongside occasional idealization of rural life that borders on . It garnered no major literary prizes upon release, though Bagnold received the Commander of the in 1976 for her contributions to . On platforms like , it averages 4.1 out of 5 stars from over 25,000 ratings, reflecting sustained reader enthusiasm.

Adaptations

1944 film adaptation

The 1944 film adaptation of National Velvet was directed by and produced by for (MGM), with a screenplay adapted by Theodore Reeves from Enid Bagnold's novel and written by Helen Deutsch. The film marked a significant departure in tone from the source material, incorporating Americanized dialogue to suit its largely American cast and adding comedic elements for broader appeal, while renaming the horse character from "" to "" and expanding the climactic race sequence to showcase its visuals. Elizabeth Taylor, aged 12 at the time of filming, starred in her breakout leading role as Velvet Brown, the horse-obsessed young girl determined to enter her steed in the Grand National. portrayed Mi Taylor, the jaded former who becomes Velvet's mentor, bringing his signature energy to the role of the wandering opportunist. Supporting performances included as the supportive mother Mrs. Brown, as the practical father Mr. Brown, and in her film debut as the elder sister Edwina. The cast's chemistry, particularly between Taylor and Rooney, emphasized themes of ambition and family bonds, with the animal actors—led by a chestnut standing in for the book's —central to the narrative's emotional core. Production spanned 1943 to 1944, primarily on location along the coast near Monterey and Beach to evoke the novel's setting, with studio work at MGM's Culver City lot; the choice of American sites stemmed from wartime constraints that scuttled initial plans for . Shot , the $2.77 million production focused on authentic equestrian sequences, including training footage that highlighted the horse's transformation under Rooney's character's guidance. The film premiered on December 14, 1944, in , with a wide U.S. release on January 26, 1945, and became a commercial success, grossing approximately $5.84 million worldwide against its budget. At the in 1946, it received five nominations and two wins: Best Supporting Actress for Revere and Best Film Editing for Robert J. Kern, with additional nods for Best Director (Brown), Best Art Direction–Color (, Urie McCleary, Edwin B. Willis, Mildred Griffiths), and Best Cinematography–Color (Leonard Smith). In 2003, National Velvet was selected for preservation in the by the for its cultural significance, and in 2008, the ranked it ninth on its list of the greatest American sports films.

Radio and television adaptations

The radio adaptations of National Velvet began with a broadcast on the Lux Radio Theatre on February 3, 1947, featuring Elizabeth Taylor and Mickey Rooney reprising their roles from the 1944 film as Velvet Brown and Mi Taylor, respectively, alongside Donald Crisp as Mr. Brown. This one-hour production, sponsored by Lux Soap, closely adapted the film's narrative, condensing key events into a dialogue-driven audio format that highlighted the performers' vocal interpretations of the characters' emotions and aspirations. A subsequent adaptation aired on the Hallmark Playhouse on October 6, 1949, as episode 57, sponsored by and broadcast on . Starring as Velvet Brown and as Mi Taylor, this low-budget, one-hour audio drama further condensed the source material, emphasizing internal monologues and family dynamics through sound effects and to evoke the story's rural English setting. The was praised for its effective use of vocal performances to capture the novel's whimsical tone and character introspection. The television series National Velvet aired on NBC from September 18, 1960, to September 17, 1962, spanning two seasons and 58 black-and-white episodes, each approximately 30 minutes long. Produced by with a focus on family-friendly content for young audiences, it starred as Velvet Brown and James McCallion as Mi Taylor, alongside as Herbert Brown and as Martha Brown. Horse-riding scenes were filmed on location at the Jans Ranch in , to authentically depict the Brown family's dairy farm life. Unlike the novel's self-contained plot centered on the Grand National race—where the horse is ultimately disqualified—the series serialized the story by expanding into ongoing post-race adventures, incorporating new family-centric plots involving everyday challenges and equestrian events to sustain episodic appeal. This structure softened the original disqualification outcome, allowing for continued optimism and resolution in each installment. The series received moderate ratings during its run, with praise for Martin's spirited portrayal of Velvet, but it concluded after two seasons due to steady but not exceptional viewership.

Legacy

Cultural impact

The 1944 film adaptation of National Velvet significantly popularized the British steeplechase in American culture, introducing audiences to the event as the world's most challenging horse race through its dramatic depiction of the competition. Elizabeth Taylor's portrayal of the determined young rider Velvet Brown not only launched her own stardom as a child but also exemplified the potential for juvenile performers to achieve lasting careers in Hollywood. The story's underdog narrative, centered on a girl's ambitious pursuit of against societal and physical odds, has endured as an for tales of perseverance and triumph. This theme resonated broadly, inspiring generations of young female equestrians by portraying a female protagonist's deep bond with horses and her challenge to norms in . The film's cultural permeation extends to popular media references, including allusions in episodes that nod to its equestrian and elements. A 1978 sequel, International Velvet, directed by , connected to the original by featuring as Velvet's orphaned American niece Sarah Brown, who relocates to and trains a for Olympic equestrian competition under her aunt's guidance; the film achieved modest commercial success, grossing about $7 million domestically. tied to the film included 1940s movie tie-in editions of Enid Bagnold's novel, while later products such as porcelain dolls modeled after Taylor's character sustained interest in horse-themed toys and memorabilia inspired by the story.

Influence on literature and media

National Velvet (1935) by played a pivotal role in shaping horse-centric fiction, particularly by introducing a in an adventure narrative centered on equestrian pursuits. As one of the earliest pony stories, it exemplified wish fulfillment through Velvet Brown's ambitious quest to race in the Grand National, paving the way for subsequent works in the genre that emphasized girls' agency and passion for horses. This novel gave voice to the "great galloping passion" of girls for horses, influencing the development of the pony book genre by highlighting emotional bonds between young female characters and their equine companions. In media, National Velvet established the enduring "girl and her horse" archetype, portraying a determined young rider overcoming societal barriers, which resonated in later films and stories featuring underdog sports narratives with deep emotional layers. An early exemplar of the modern "horse girl" trope, it centered a teenage girl's competitive drive and bond with her piebald horse, , inspiring representations of female empowerment through equestrian adventures in visual media. The 1944 film adaptation further amplified this trope, contributing to a paradigm where horses serve as alter egos and companions rather than mere tools, influencing equine-themed storytelling in children's programming and cinema. The novel's impact extended to broader literary genres, including interwar pastoral literature, where its setting and themes of rural ambition blended whimsy with realism, encouraging post-war British novels to explore similar motifs of youthful and dynamics in equestrian contexts. Bagnold's innovative style, blending shorthand dialogue and inventive prose, influenced the narrative techniques in young adult fiction focused on and personal growth. Scholarly examinations of National Velvet often highlight its role in children's literature courses, analyzing themes of female agency and the subversion of gender norms through Velvet's pursuit of an unconventional dream. Peter Stoneley's analysis underscores its feminist dimensions, exploring how the protagonist's body and ambitions intersect with racialized and fascistic undertones in interwar Britain, positioning the novel as a key text in studies of gendered athleticism. This legacy has prompted discussions in feminist media studies, where the work is cited for challenging prejudices against female participation in sports and adventure genres. In contemporary echoes, National Velvet continues to inform retellings and analyses in media, with its emphasis on protagonists inspiring shifts toward more diverse representations in post-1990s , as evidenced by surveys showing its lasting influence on readers' perceptions of human- relationships. A study based on a 2013–2016 survey of 274 equestrians found that 43% identified the 1944 film as a formative childhood influence and 13% cited the ; 65% of respondents noted ongoing impact from such childhood stories on their practices, underscoring its role in shaping modern equestrian narratives in and media.

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  37. https://www.piccalillipie.com/2016/10/the-velvet-evolution-national-velvet-in.html
  38. http://captaincritic.blogspot.com/2010/05/reeling-backward-national-velvet-1944.html
  39. https://www.imdb.com/title/tt0037120/
  40. https://movie-locations.com/movies/n/National-Velvet.php
  41. https://oc.mymovies.dk/Movie/abd813da-76cf-4d17-baeb-a1fea4904da8
  42. https://www.imdb.com/title/tt0037120/releaseinfo
  43. https://movies.fandom.com/wiki/National_Velvet
  44. https://www.oscars.org/oscars/ceremonies/1946
  45. https://www.amctheatres.com/american-film-institute/ten-top-ten/sports
  46. https://www.oldtimeradiodownloads.com/drama/lux/lux-radio-theater-47-02-03-557-national-velvet
  47. https://radiogoldin.library.umkc.edu/Home/RadioGoldin_Records?searchString=Hallmark%20Playhouse&type=Programs&count=185
  48. https://www.youtube.com/watch?v=kUtrnNgRC44
  49. https://www.imdb.com/title/tt0053526/
  50. https://www.imdb.com/title/tt0053526/locations/
  51. http://ctva.biz/US/Drama/NationalVelvet.htm
  52. https://www.nytimes.com/2013/04/06/sports/death-of-second-horse-at-grand-national-reignites-concerns-over-fences.html
  53. https://faroutmagazine.co.uk/the-movies-that-define-elizabeth-taylor/
  54. https://ew.com/greatest-underdogs-in-movies-11707479
  55. https://donnabrothers.com/2021/04/01/a-celebration-of-women-in-racing/
  56. https://www.simpsonsarchive.com/guides/movie_refs.html
  57. https://www.imdb.com/title/tt0077743/
  58. https://www.boxofficemojo.com/release/rl760907265/
  59. https://www.ebay.com/itm/406075231637
  60. https://stopmejohn.blogspot.com/2018/07/franklin-mint-elizabeth-taylor.html
  61. https://historyonhorseback.com/2013/08/07/not-just-for-girls-the-past-and-future-of-the-pony-book/
  62. https://bookriot.com/horse-girls-in-fiction/
  63. https://www.davidpublisher.com/Public/uploads/Contribute/5902bbedbdc7f.pdf
  64. https://www.tandfonline.com/doi/abs/10.1080/09574049808578356
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