Queen Elizabeth II’s love of horses is well known. She even made the trek to Kentucky five separate times during her reign to visit various horse stables, and attended the Kentucky Derby in 2007. Less known is her relationship with horse trainer Monty Roberts. Roberts was born in 1935, in Salinas, California, and has spent his life championing more ethical, non-violent methods. Now, two years after the passing of Her Majesty, that relationship is finding more visibility in The Cowboy and the Queen, the latest film from director Andrea Nevins (Hysterical).
Despite boasting obviously and wildly different upbringings and circumstances than Elizabeth, Roberts’ life story actually isn’t so far removed from the former queen’s. Before he could even ride on his own, Roberts was on horseback, strapped to his mother’s waist. By four, he was competing in his own competitions and caring for horses. In those days, animal welfare was a low priority; Roberts, who worked in the film industry, had particular difficulty with the way horses were often killed or else died on sets from the conditions they endured. At home, he was coping with abuse of his own at the hands of his father. Meanwhile, the then Princess Elizabeth was whisked off to Windsor at the start of World War II, a refuge from the constant bombing in London. During her time at Windsor, she spent much of her days with her horses, days that mark the beginning of her deep love for the animal.
The Cowboy and the Queen’s opening moments highlight these commonalities and disparities, setting the stage for the unlikely friendship that would form in the duo’s later years. The film doesn’t shy away from the complexities of their relationship — how Roberts’ unorthodox methods were initially met with skepticism from the royal stables, or how the Queen’s keen eye and deep knowledge of horses led her to quietly support his techniques. Through this lens, The Cowboy and the Queen becomes less a film about the spectacle of royalty or the ruggedness of the American West, and more about two kindred spirits who, against all odds, forged a bond that transcended titles and expectations.
In his early years working in rodeos and equestrian competitions, Roberts saw the cruelty of the industry first hand, and quickly developed more humane ways of training horses. His method, later called “Join-Up,” rejects the violent, coercive tactics of past generations in favor of a gentler, more intuitive connection with horses. This philosophy, radical at the time, caught the eye of Queen Elizabeth, a monarch often seen as the embodiment of tradition but who was, in private, remarkably open to innovation, especially when it came to the treatment of her animals.
While the film doesn’t do anything revolutionary in form, following the traditional documentary template of working chronologically and featuring talking heads (with the amiable horse trainer and those involved in his work and life), it’s Roberts’ kind and giving nature that elevates The Cowboy and the Queen. Nevins includes gentle and personal moments, such as Roberts driving through his farm and talking about trees, or simply watching the news. These quieter, more reflective scenes allow audiences to locate the man behind the “Horse Whisperer” legend and understand what drew Queen Elizabeth to his unconventional methods and magnetic personality.
But it’s not only the way Nevins handles the film’s portrayal of Roberts that distinguishes her film, also the nuanced depiction of the Queen herself. Known to the world as a steadfast and often stoic figure, The Cowboy and the Queen offers glimpses of her rarely seen softer side, one that cherished intimate and genuine bonds with people and animals. The film’s essential juxtaposition, along with its basic structure, prove that reinventing the wheel isn’t necessary when modest aims are handled with care and attention to construction. The Cowboy and the Queen thrives by virtue of its authenticity, sincerity, and the undeniable chemistry of its two central figures, but it also gives viewers more than a mere tale of unlikely friendship — it successfully manifests the sense of calm and kindness calm that is, above all, Roberts’ legacy.
DIRECTOR: Andrea Nevins; DISTRIBUTOR: Greenwich Entertainment; IN THEATERS: September 6; RUNTIME: 1 hr. 26 min.
