Secretariat

Nearly forty years have passed since Secretariat swept to three record-smashing victories in the Triple Crown—an unprecedented tour de force that confirmed him as the most capable and charismatic racehorse in the modern annals of the turf—and today his legend as a Thoroughbred, with all that word implies, remains as vibrant and secure as ever.

Horsemen have always been loath to compare horses from different eras, seeing any attempt to do so as a diverting but futile exercise. Could Secretariat have beaten Man o’ War or Citation? Could either of them have whipped Swaps, Seattle Slew, or Native Dancer? Or run down the immortal Count Fleet or Dr. Fager? Or out-gutted Seabiscuit at his match-race best? To all such facile questions, of course, there are only facile answers. The only thing that is really certain, after the passage of two decades since his death at Claiborne Farm, is that Secretariat continues to be viewed as the modern standard against which all members of his tribe are judged.

“His only point of reference is himself,” turfwriter Charles Hatton wrote after witnessing the colt’s thirty-one-length victory in the Belmont Stakes.

If anything, time has only enriched and embellished his name. On ESPN’s acclaimed TV series portraying the fifty greatest athletes of the twentieth century, he was ranked thirty-fifth, the only quadruped honored in the series. In another end-of-the-century event celebrating the decade of the 1970s, the U.S. Postal Service put his comely mug on a thirty-three-cent postage stamp. A three-quarter-sized bronze statue of Secretariat, commissioned by philanthropist Paul Mellon and depicting the horse in full flight, his head and forelegs thrust forward, decorates the middle of the walking ring at Belmont Park—a symbolic centerpiece forever representing the best of the sport and the breed. And a full-sized statue in bronze, with jockey Ron Turcotte aboard and groom Ed Sweat trying to restrain the thoroughbred, was unveiled in 2006 at the Kentucky Horse Park in Lexington—just down the road from Claiborne Farm, where Secretariat died at age nineteen, on October 4, 1989, and where a loyal network of old friends, many of them anonymous, have kept his grave in flowers through the years, a symbolic reminder of the hold he has had on the memories of those who saw him run almost four decades before.

It was there at Claiborne, one early afternoon in 2009, that actress Diane Lane visited the storied horse cemetery behind the office, its rows of gray headstones engraved with names long celebrated in the richer histories of the American turf: Bold Ruler . . . Round Table . . . Gallant Fox . . . Damascus . . . Buckpasser . . . Mr. Prospector . . . and Secretariat. As she left through the cemetery gate, a gray-haired gent in a black windbreaker stopped behind her and bent over Secretariat’s grave, plucking a single red rose from a vase of flowers tipped against the headstone.

“Here,” the old gent said, handing the rose to Lane. “The horse asked me to give this to you. Wanted you to have it.”

Diane smiled, almost purring. “Thank you,” she said. Lifting the stem in both hands, she touched the rose like an artist’s brush to her exquisite face. “I will treasure this,” she said.

At the moment, the acclaimed actress was at the bustling center of the richest, most extravagant tribute ever paid to the life and legend of Secretariat—a full-length feature film starring Diane as Penny Chenery Tweedy, the woman who drove Secretariat’s career in place of her dying father (played by Scott Glenn), and the brilliant John Malkovich as trainer Lucien Laurin, the man with whom Penny shared the glories, the tumults, and the pressures that attended the leading of this magnificent chestnut, recently syndicated for $6 million, through the turbulent waters of the Triple Crown. I was down there, too, a hired hand observing the making of the film. Walt Disney Pictures, with Mayhem Pictures producing, had just begun shooting it at a rainy churchyard cemetery in rural Lexington, where the scene was the burial of Chenery’s mother, Helen Bates Chenery, and where Diane perfectly evoked Penny’s patrician reserve and grieving beauty beneath panoplies of black umbrellas.

It was, with Lane and Malkovich leading the way, a surpassing cast and crew. They all gathered later at Keeneland racecourse to film a reenactment of the scenes that unfolded at the ’73 Belmont Stakes, the race regarded by most horsemen as the greatest performance ever by an American thoroughbred; among the familiar faces dressed for their parts were James Cromwell as breeder Ogden Phipps, Fred Thompson as Claiborne president Bull Hancock, and Nelsan Ellis as Sweat. Behind the camera was the peripatetic Dean Semler, whose cinematography in
Dances with Wolves
had won him an Oscar in 1990. Movie locations mimic the collapsible world of the traveling circus, moving from place to place, and after a week at old Keeneland, in the middle of the Blue Grass, the Secretariat troupe packed up and hauled its cameras and trailers seventy miles west to Louisville. Since 1875, the year of its inaugural running, River City had been home to the Kentucky Derby, with its signature Twin Spires, its massive clubhouse and grandstand, and its ancient vault of echoing sounds and memories.

Disney had acquired the rights to this book for the making of the movie, and the film company, at Mayhem’s urging, had retained me as the technical consultant on the film. For those who had been at Churchill Downs on May 5, 1973, it was impossible to wander those historic grounds and that movie set last year—among throngs of extras dressed in the polyesters of the early ’70s, amid fleets of old cars imported from the late ’60s, and around the five attractive chestnuts wrangled from all over to play the horse—and not recall that sublime magic of Derby week some thirty-six years before.

I can close my eyes and see the scenes unfolding one by one:

• The morning of May 2, Thursday, two days before the witching hour, when a hand-wringing Lucien and Penny, still agonizing over Secretariat’s stunning defeat in the Wood Memorial eleven days before, sent him out for a last, crucial morning workout at the Downs. As the colt flew down that stretch, sizzling a final 220 yards in 0:11
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5
seconds, Turcotte’s blue and white jacket was billowing like a parachute on his back. Later, Sweat, a rub rag dangling from his back pocket, was whistling as he led Secretariat back to the barn and washed him off with soap and water, the colt’s golden coat shining wetly in the sun.

• The late afternoon of May 5, Derby Day, when the backstretch silence was broken as the loudspeakers blared, “Horsemen! Bring your horses to the paddock for the Derby!” And there was Secretariat, Eddie leading him, walking around the clubhouse turn toward the paddock, the colt’s head bobbing, his mouth grinding on the bit, until he strode into the straightaway past the clubhouse seats, where thousands pressed forward to see him, and he stopped and raised his head and stared a few seconds at the mammoth stands and raucous crowds, still as a piece of statuary, before dropping his head and walking on.

• At the top of the stretch at Churchill Downs at 5:38 p.m., the hour had come round at last: Secretariat was battling his arch rival, Sham, and they were nose and nose through the first 100 yards into the lane when Secretariat began to pull away, slowly but inexorably, and Sham began melting down the wick of that fiery pace as 130,000 people sent up a roar and Secretariat bounded home alone in 1:59
2
/
5
—the fastest Kentucky Derby ever run—the first horse ever to shade two minutes for the mile and a quarter. In the doing, he pulled off the unprecedented feat of running each successive quarter-mile split faster than the preceding one—0:25
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, 0:24, 0:23
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/
5
, 0:23
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5
, and 0:23 flat—literally running faster and faster as the race went on.

He electrified the crowd that afternoon, and I can hear their echoes in that hallowed grandstand yet today. Secretariat had been voted the nation’s Horse of the Year as a two-year-old in 1972, and he had already shown himself to be a horse of gusting speed and highest quality, but the Kentucky Derby was his first transcendent moment as an equine athlete, the performance by which he joined the racing gods—the likes of Man o’ War and Count Fleet, Citation and Native Dancer, Swaps and Dr. Fager—and announced that he belonged in their pantheon. The Preakness reaffirmed his Derby brilliance, while his pièce de résistance, the Belmont Stakes, left him spinning in an orbit all his own, alone.

By the close of the 2009 Triple Crown season, a total of 1,382,316 thoroughbreds had been born and come of age in North America since 1970, the year of Secretariat’s birth, and not only did he still own the Kentucky Derby record by himself, no horse had come remotely close to equaling his world record at Belmont—a mile and a half in 2:24 flat.

He was sui generis, to be sure, an inspiration not only for documentarians and big-screen movie makers, but also for journalists and novelists and would-be poets.

Charles Hatton had been the dean of American turfwriters for decades before the rise of Secretariat, and he had seen them all since the era when Man o’ War and Sir Barton strutted their stuff on the racing stage; in the end he declared Secretariat to be the most capable racehorse he had ever seen. Nothing delighted Hatton more than seeing the colt fly through his morning workouts. The week before the Belmont Stakes, on the morning Secretariat worked a mile in the astonishing time of 1:34
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, faster than the best older horses were racing in the afternoons,
New York Times
columnist Red Smith climbed to Hatton’s eyrie above the giant Belmont grandstand and asked how fast the colt had worked.

“The trees swayed,” Charlie told Red.

Upon the colt’s retirement, it was Hatton who penned the most lyrical farewell:

Weave for the mighty chestnut

A tributary crown

Of autumn leaves, the brightest then

When autumn leaves are brown

Hang up his bridle on the wall,

His saddle on the tree,

Till time shall bring some racing king

Worthy to wear as he!