Behold a Pale Horse is a 1964 American drama film directed by Fred Zinnemann and starring Gregory Peck, Omar Sharif and Anthony Quinn.

The film is based on the 1961 novel Killing a Mouse on Sunday by Emeric Pressburger, which loosely details the life of the Spanish anarchist guerrilla Francesc Sabaté Llopart.

The film's title refers to a verse from the Book of Revelation 6:8: "And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him."

A typical Republican sympathizer, she is contemptuous and deeply suspicious of all Catholic clergy, some of whom collaborated with Francoist Spain both during and after the war.

In return for information about the layout of the hospital and surrounding area, Paco tells Artiguez to "bump into Viñolas" for him.

Embarrassed by admitting his vulnerability, Artiguez allows the priest to go free and, after much internal debate, he decides to travel to San Martín anyway, presumably with the mission of killing Viñolas.

Soldiers and officers congratulate Viñolas on at last killing his enemy, but he asks one of his lieutenants, knowing that his mother was already dead and that a trap would be waiting for him, why Artiguez had returned.

[4] The American leftist political activist Allard K. Lowenstein assisted by making contact between the filmmakers and anti-Francoist Spanish exiles in France.

After Columbia previewed the film for American audiences, the studio added an introductory sequence to provide background relating to the Spanish Civil War; clips from the documentary To Die in Madrid were interspersed with dialogue explaining the conflict.

[7] The score was originally released by Colpix Records as an LP in the United States and as a two-track EP in France.

Despite Peck's promotional tours in the U.S. and those of Zinnemann in London and Paris,[3] the film did not enjoy box-office success, and receipts could not recoup production costs.

[10] Months prior to the release of the film, Columbia vice president M. J. Frankovich estimated that the studio had lost millions of dollars for having proceeded with production against the wishes of the Spanish government.

In a contemporary review for The New York Times, critic Bosley Crowther wrote:It is a shame that a film made as beautifully as Behold a Pale Horse and that has as much atmosphere in it as this one unquestionably has should be short on dramatic substance and emotional urgency.

The antagonists, whose hates and terrors are never made to come forth with heat, are curiously kept in different cities until the last blazing scene in the film.

Indeed, it is difficult to determine just what is going on as characters move about loosely from San Martin to Pau to Lourdes—and then back to the Spanish city for the denouement.