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  • Cadet Roni relishes the slop in the Wishing Well at Santa Anita.Posted 5 days ago
  • Flora Dora gets to the wire first in the Big A's Busanda.Posted 5 days ago
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  • Smokey Image wins the California Cup Derby by a pole to remain undefeated.Posted 6 days ago
  • Pricedtoperfection bursts through to Sweetest Chant at Gulfstream.Posted 6 days ago
  • Pacific Heat runs away from the field in the California Cup Oaks.Posted 6 days ago
  • Sassicaia splits horses to win a thrilling finish in the Toboggan.Posted 6 days ago

Big Red on the Big Screen

Part 3 of my Secretariat trilogy is a review of the long-awaited film that opens nationwide on Oct. 8. For those who wish to see the movie with an open mind and not be made aware of its flaws, you can just read the opening and closing graphs. To the casual and non-racing fans, the flaws will be of little concern. As much as I want the movie to do well, and believe it will, I cannot write an objective review in a racing publication without mentioning them. But this is Disney, and on the feel-good meter, it registers a "10."

I decided not to write a review immediately after seeing the movie in order to let it sink in and come to terms with the revisionist history aspects of it. I didn’t think it was fair to offer a knee-jerk critique as a racing aficionado when the film was not geared toward an esoteric viewpoint. As representatives of the film keep pointing out, it is not a documentary.

As I said, I wish the film all the best and hope it does well, because the sport needs all the positive mainstream exposure it can get. And it’s time for people, especially the younger generation, to get an idea just what kind of impact Secretariat had, not just on racing, but on the American public. Imagine a horse today being on the cover of Time, Newsweek, and Sports Illustrated in the same week and occupying the entire front and back pages of the New York Daily News. Secretariat transcended racing and sports in general, weaving himself into the fabric of American culture. Read More

 

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Older Comments about Big Red on the Big Screen...

Funny that poetic license has the Frank Martin group as the unfriendly cohort to Tweedy when it was really the Angle Light (Whittakler) connections that caused infighting

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