Review of Secretariat (2010) by Mike M — 06 Apr 2011

Given that Seabiscuit, in cinematic form at least, came to represent the indomitable spirit of Depression-era America, we might expect Secretariat to do likewise for Sixties America, yet the period is only patchily described, principally by having Lane check in her with hippy daughter every half-hour.

In truth, the film is any way much too square to have any feel for the counterculture: given that this was the era of King, X, Superfly and the Black Panthers, it's a little odd the only African-American on screen should be a pious stable boy (Ellis, a long way removed from TV's "True Blood") who likes nothing more than to trill "O Happy Day" while soaping down his charge's flanks.

Otherwise, it's all sunsets, swelling orchestral climaxes and overwritten racing metaphors. "This is about life being ahead of you," states Lane, helpfully setting out the stakes for any backmarkers in the audience.

"And you run at it." I pulled up very early on.