Animal characters have fascinated viewers as well as readers in animated as well non-animated films and in fiction. This unfading interest in animal characters have inspired writers and film makers to use anthropomorphism as a tool for breathing life into flora and fauna. One could observe that films and fiction which are anthropomorphic in nature focus on relations between humans and animals as well as between weaker and stronger animals. A hegemonic relationship could be seen emerging among the characters thus making these perfect for post-colonial study. In post-colonialism the element of the ‘subaltern’ plays a major role. In all of these works the relationship between man and animals as well as stronger and weaker animals can be analysed through this aspect of ‘subalternity’ since the latter becomes the subaltern. While analysing a film or fiction of anthropomorphic nature as a subaltern text we cannot ignore Antonio Gramsci’s theory of the subaltern since he used this term for referring to all of those groups in society who were suppressed by the ruling class. DreamWorks Pictures’ Spirit: Stallion of the Cimarron narrates the story of an anthropomorphic wild stallion who saves his herd from being destroyed by the U.S Cavalry. Spirit witnesses two contradictory sides of humans in the form of the Colonel who commands the cavalry and a Lakota Native American, Little Creek, who has been kept in captivity at the cavalry. While the Colonel tries to suppress Spirit by breaking his inner ‘spirit’ and transforming him into a beast of burden Little Creek teaches him how to harness his unrestricted energy in order to discover his inner strength whereby which he breaks down the supremacy of the Colonel. Thus Spirit symbolises the subaltern hero who ends the oppressive reign of the Colonel and his cavalry upon his herd as well as the Lakota Native settlement.