Horse racing movies usually follow a very specific, polished blueprint. You’ve got the sweeping shots of the Kentucky bluegrass, the orchestral swells as the gates fly open, and usually, a protagonist who looks like they stepped off a runway. Fifty to One isn't that kind of movie. It’s gritty. It’s a little dusty. It feels like a Saturday afternoon in a New Mexico dive bar, which is exactly why it works.
If you aren't familiar with the backstory, we’re talking about the 2009 Kentucky Derby. Specifically, we're talking about Mine That Bird. This wasn't some blue-blooded stallion from a multi-million dollar stable in Lexington. He was a "crooked-legged" gelding that cost about $9,500. To put that in perspective, some of the horses he beat in that race were worth more than a small private island.
The Rough-Around-the-Edges Reality of Fifty to One
Director Jim Wilson, who actually has some serious hardware on his shelf (he produced Dances with Wolves), decided to take a gamble on this story. He didn't just want to make a movie about a race; he wanted to capture the "cowboy" culture of the Southwest that birthed this miracle.
The film stars Christian Kane and Skeet Ulrich, and honestly, they look like they actually belong in a stable. There’s a certain authenticity to the way they handle the tack and talk about the animals. It’s not Hollywood-clean. It’s sweaty.
What’s wild is how they handled the casting of the jockey. Usually, you’d get a professional actor and try to hide the fact that they can’t actually ride a horse at 40 miles per hour. Wilson didn't do that. He cast Calvin Borel to play himself. If you follow the sport, you know Borel is a legend. Seeing him recreate that "rail-skimming" ride on screen adds a layer of realism that you just can't fake with CGI or stunt doubles.
Borel’s performance is endearing because it’s not really a performance. It's just him. He’s a guy who loves his horse, and that sincerity carries the middle act of the film when the pacing starts to feel a bit like a long haul across the desert.
Why the 50-1 Odds Weren't Just a Number
In the sports world, we throw around the word "underdog" way too much. We call a team an underdog if they’re a three-point sprout in a football game. But Fifty to One highlights what a true longshot looks like.
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Mine That Bird was tiny.
He was cheap.
He arrived at Churchill Downs in a hitched-up trailer driven by his trainer, Chip Woolley, who was literally on crutches at the time because of a motorcycle accident.
You can’t make this stuff up. When they pulled into the backside of the track, the security and the elite trainers looked at them like they were lost tourists. The movie captures that culture clash beautifully. On one side, you have the "Old Money" of the racing establishment—men in three-piece suits and silk ties. On the other, you have Woolley and his crew, looking like they just finished a shift at a ranch in Roswell.
The odds were set at 50-1 for a reason. Nobody thought a horse that had been finishing fourth and fifth in New Mexico and Sunland Park had any business in the Run for the Roses. It was seen as a vanity project, a fluke entry that would get swallowed up by the pack before the first turn.
The Technical Magic of the Race
Let’s talk about that finish. If you watch the actual footage of the 2009 Derby, the announcer, Tom Durkin, literally misses Mine That Bird until the very last second. That’s how fast he came from the back.
The movie does a fantastic job of recreating that "slingshot" effect. Borel is known as "Bo-rail" because he hugs the inside fence closer than anyone else in the business. In the film, you feel the dirt hitting the lens. You hear the rhythmic breathing of the horses, which is a sound most people never get to experience. It’s visceral.
The cinematography doesn't lean too hard on slow-motion cliches. Instead, it focuses on the chaos of a 20-horse field. It shows you the mud, the tight spaces, and the split-second decisions that separate a winner from a "also-ran."
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Accuracy vs. Hollywood Flair
Is it 100% historically accurate? Well, it’s a movie.
There are definitely scenes where the "cowboy vs. city slicker" trope is turned up to eleven. Some of the dialogue feels a bit scripted to make the New Mexicans look like outcasts, but the core facts remain solid. Woolley really was on crutches. The horse really was a bargain-bin purchase. The trip from New Mexico to Kentucky really was a grueling, DIY road trip.
One thing the movie nails is the sheer disbelief of the crowd. When Mine That Bird crossed the finish line 6 3/4 lengths ahead of the field, the stadium went silent for a beat before the roar started. It was the second-biggest upset in the history of the race at that time.
What Critics Got Wrong
When Fifty to One came out in 2014, some critics complained that it was too "folksy." They wanted something more like Seabiscuit.
But that misses the point.
Seabiscuit was a prestige drama about the Great Depression. Fifty to One is a movie about a bunch of guys who had no business being on the big stage and somehow stole the show. It’s supposed to be a bit unpolished. It’s supposed to feel like a tall tale told over a campfire.
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If you go into it expecting a gritty Scorsese-style deep dive into the gambling underworld, you’re going to be disappointed. But if you want a movie that makes you feel like the little guy actually has a shot, it delivers.
The Lasting Legacy of Mine That Bird
The horse became a folk hero. He didn't just win the Derby; he went on to place in the Preakness and the Belmont, proving that his win wasn't a total fluke. He had heart.
The movie serves as a time capsule for that specific era of racing. It reminds us that before the super-stables and the hedge-fund-owned syndicates took over the sport entirely, a guy with a trailer and a dream could still pull off the impossible.
Watching Fifty to One today, it feels even more poignant. The sport has changed so much, and the barrier to entry for the Triple Crown has become almost insurmountable for "small" owners. This film represents the last gasp of the true American independent spirit in horse racing.
How to Watch and What to Look For
If you’re going to sit down and watch it, pay attention to the relationship between Woolley and the owners, Mark Allen and Leonard "Doc" Blach. It’s the heart of the film. It shows that winning isn't just about the athlete (the horse); it’s about the strange alchemy of people who believe in something that everyone else says is a waste of time.
- Look for the cameos: Several real-life racing figures pop up throughout the film.
- The Soundtrack: It leans heavy on that Southwestern vibe, which sets the mood perfectly.
- The Crutches: Notice how they become a character in themselves. They represent the physical toll of the lifestyle these guys lead.
Actionable Takeaways for the Viewer
After watching the film, don't just move on to the next thing on your watchlist. There are a few ways to really dive into this story:
- Watch the real race: Go to YouTube and search for the 2009 Kentucky Derby. Watch the overhead cam. It is arguably the most impressive piece of race-riding in the last 50 years. Borel’s path through the traffic is like watching a needle thread itself.
- Visit the Kentucky Derby Museum: They have exhibits dedicated to the biggest upsets in history, and Mine That Bird’s story is a centerpiece.
- Support Local Tracks: The movie highlights the "minor leagues" of racing. Places like Sunland Park are where the real stories often start. If you have a local track, go spend an afternoon there. You might see the next 50-1 longshot in the making.
- Read the Memoirs: If the movie sparks your interest, look for interviews with Chip Woolley. He’s a straight-shooter who doesn't sugarcoat the realities of the business.
This isn't just a "horse movie." It’s a testament to the idea that being underestimated is a superpower. When nobody expects you to win, you have nothing to lose. That’s the magic of Fifty to One. It’s messy, it’s loud, and it’s undeniably human.