Tony the Wonder Horse

The phrase Wonder Horses refers to the equine companions of cowboy heroes in early Western films. What makes these horses different from others that have appeared on the silver screen is their rise from trusty steed to a genuine screen personality. There have been a number of horses who have enjoyed such fame, often receiving equal or second billing with their human costars.

Though the first heroic horses emerged from the silent film era, they were prominently featured in the B-Westerns of the 1930s, 1940s, and 1950s. During the early decades of sound film, cowboy movies targeted a juvenile demographic. The films’ heroes were generally one-dimensional, who represented and promoted truth and goodness to their young audience. More popular with adolescent viewers than a human sidekick, the Wonder Horse could not only outrun the mounts of the villains, but could also perform a series of feats and tricks to ensure that the cowboy hero would triumph.

The bond between a cowboy and his horse is an important part of the cowboy mythology created by dime novels, pulp fiction stories, and Western cinema. Movies featuring Wonder Horses embellish this relationship between man and beast while heightening the exceptional and heroic qualities of the cowboy by his association with a remarkable animal.

Fritz was the first horse to be named in the credits as a costar to his rider, William S. Hart, appearing in at least eight silent films: Pinto Ben (1915), Hell’s Hinges (1916), The Narrow Trail (1917), Blue Blazes Rawden (1918), The Toll Gate (1920), Sand (1920), Three Word Brand (1921), and Singer Jim McKee (1924). He received his own fan mail, which often included sugar cubes from admirers.

During his career, Fritz was much beloved by his costar, actor William Hart. The horse belonged to film producer Thomas Ince, but during a raise negotiation with Ince, Hart was able to acquire ownership of Fritz. Fritz was known for his ability to do unique and risky stunts. He could jump into moving rivers, through windows, over fire, and "allow himself to be thrown to the ground after a sudden stop." In his autobiography, Hart speaks lovingly of Fritz, and describes some of their stunts together. One in particular illustrates the danger of the stunts Fritz performed and the love Hart felt for his "pinto pony." While filming a scene for the 1920 film The Toll Gate, Hart and Fritz were caught in a whirlpool:

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