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One would think that movies
about the triumph of the human spirit would be the easiest to tell. But
actually the opposite is quite true. Few, manage to bottle the elusive
celebratory quality of the moment, particularly upon renewed viewing, without
becoming maudlin or faintly ringing of overt and woefully pre-digested
sentimentality. Hugh Hudson’s Chariots
of Fire (1981) is the exception to that rule; a serenely understated and
altogether emotionally nourishing tale about instinctually following one’s own
moral compass. Producer David Puttnam inadvertently discovered the true life
story of Eric Henry Liddell – ‘the Flying Scotsman’ - in 1978 while recovering
from the flu, and thereafter commissioned screenwriter Colin Welland to adapt
this piece of all but forgotten national history for the movies.
At its heart, Chariots of Fire is a story about the
curious, often conflicted alliances in sports; honour, dignity, compassion for
one’s competitors and the glory of competition itself. The film begins with Eric
Liddell’s solemn funeral ceremony where Lord Andrew Lindsay (Nigel Havers) is
offering a heartfelt eulogy. From here we regress into one extended flashback
depicting Lindsay’s sheer joy, racing barefoot with his contemporaries along a
lonely stretch of windswept beach. Born to privilege, Lindsay is a rather
devil-may-care young man who looks upon running as a grand lark. His lack of true
conviction for the sport is overwhelmed by the camaraderie he experiences with
his fellow athletes.
It’s 1919 and Lithuanian
Jew Harold Abrahams (Ben Cross) has just entered Cambridge where he experiences
anti-Semitism from its staff. Driven by some mad inner pursuit to prove himself
worthy – perhaps not of the university but himself - Abrahams becomes the first
person to ever complete the Trinity Great Court Run by streaking a blur around
the courtyard in the time it takes the nearby clock to strike the 12th
hour. Cheered by his fellow students, Abrahams discovers his true calling as a
runner and embarks upon a series of undefeated victories in national
competitions. Outwardly, these triumphs fan his vanity but they do little to
exorcise his inner demons. His heart is stirred by a chance meeting with
soprano, Sybil Gordon (Alice Krige), who is currently appearing as Yum-Yum in
Gilbert and Sullivan’s The Mikado. The two begin a flawed love affair that is
frequently interrupted by the insecurities Abrahams carries with him, and by
his blind determination to maintain a public façade at the expense of a more
intimate and meaningful private life.
On the other end of the
spectrum is Eric Liddell (Ian Charleson); a passionate Scotsman who races as
though he had wings on his feet. Eric’s sister Jennie (Cheryl Campbell), a
devout missionary moderately disapproves of her brother’s plans to pursue
competitive running. But Eric insists that he runs to glorify God, to show Him
thanks who gave him the strength and agility to compete. Eric makes Jennie a promise to return to
China – the place of his birth – and work as a missionary as their parents once
did. But when he misses church services one Sunday in order to compete, Jennie
believes Eric has lied to her and chides him. Eric responds with “I believe God made me for a purpose. But He
also made me fast, and when I run I feel His pleasure.”
Liddell and Abrahams face
off in their first competition. Although Abrahams vows to emerge victorious,
and pours every last ounce of his strength – and considerable ego - into the
competition, he is seemingly effortlessly defeated by Liddell, whose graciousness
in victory is superseded by Abrahams’ bitterness and outrage at having lost. Abrahams
has missed the point of competition, misperceiving it as a war against the
others in the race. But Liddell has won because he truly believes in the
competition of one – to challenge one’s self and find his strength not in
victory, but in the sportsmanship.
After the race, Abrahams is
pulled aside by professional trainer, Sam Mussabini (Ian Holm) who offers to
take him on to improve his technique. Abrahams, who had sought out Mussabini
earlier, willingly agrees, incurring the dismay of his headmasters (John
Gielgud, Lindsay Anderson). Both suggest to Abrahams that he is an amateur
‘playing’ at being the tradesman. Undaunted by their class based smug
superiority Abrahams engages Mussabini and the tutelage begins in earnest.
Lindsay befriends both men,
introducing them to his life of privilege. He is stimulated by their friendship
and is a selfless true admirer of both Liddell and Abrahams. Eventually, these
adversarial champions are chosen to represent Great Britain at the 1924
Olympiad in Paris, along with Lindsay and fellow classmates Aubrey Montague
(Nicholas Farrell) and Henry Stallard (Daniel Gerroll). The men accept their
appointments with great humility. However, when Liddell discovers that his 100
metre race is scheduled for Sunday he respectfully declines to compete, despite
strong ‘encouragement’ from the Prince of Wales (David Yelland) and the British
Olympic committee. Liddell, however, remains steadfast and true to his
Christian convictions.
Lindsay suggests that since
he has already won a silver medal in the hurdles he will relinquish his place
in the 400 metre race the following Thursday for Liddell to compete. Liddell
accepts and the committee agrees. Abrahams is badly beaten by American runner
Jackson Scholz (Brad Davis) in the 200 metre and elects to challenge himself in
the 100 metre that Liddell ought to have run. There, he is victorious and
Mussabini is overcome with elation.
Preparing for the 400 metre,
Liddell is ridiculed by the American coaches. However, Scholz hands Liddell a
note in support of his religious convictions. The men race and Liddell wins the
race to a thunderous standing ovation. The British team return home in triumph
and Sybil and Abrahams are reunited. Before fading to black we learn the fate
of these Olympians. Abrahams eventually married Sybil and settled down. Liddell
fulfilled his promise to Jennie by returning to China as a missionary. He was
interned in one of their concentration camps during the conflicts and died of a
brain tumour and malnutrition on February 21, 1945.
Chariots
of Fire is
exuberant film making. It celebrates the undiluted joy in athletics rather than
in victory itself. The Welland screenplay is passionate about its subject
matter, the all-British cast and crew more enthusiastic still and the results
are immensely satisfying in unexpected ways. The film charts the chequered
progress of flawed heroes who ultimately believe in themselves, occasionally
even when those closest to them are all set to simply walk away. The great
strength of the film is that it doesn’t try to iron out inherent dramatic flaws
for the sake of achieving a more grandiose narrative perfection. We get a
‘warts and all’ perspective – albeit with the warts lit in soft focus and with
the iconic Vangelis’ techno ‘80s theme blaring across the screen as the wind at
each runner’s back. But at its very soul, Chariots
of Fire retains the kernel of truth for life as it was rather than as it
should have been.
Warner Home Video’s Blu-ray
is bar none a blind repurchase must have! The full 1080p image is a sumptuous
feast. Colours are rich. Contrast is spot on. The hi-def image captures the
diffused David Watkin’s cinematography with an ethereal glow and just the right
smattering of film grain. The image is ‘vintage’ in the very best sense of the
word, with fine details evident throughout. Close ups are startlingly robust.
The DTS 5.1 audio is equally impressive, capturing all of the subtle nuances in
dialogue, score and effects. I cannot think of a single negative. The film
looks and sounds perfect!
Warner has gone all out on
the extras this time around too. The snazzy 36 page booklet packaging is just
for starters. We get two new half hour featurettes – one on the Paris games
circa 1924, the other on the making of the film. Director Hudson also appears
in a newly produced Q&A that is fascinating. Hudson covers a lot of the
same ground he did in the audio commentary (also included). We also get all of
the old extra features from Warner’s old SE DVD; including The Making of Chariots of Fire,
deleted scenes, a reunion featurette and theatrical trailer. Bottom line: there’s
absolutely NO reason why you shouldn’t own this disc. And with the summer games
set to kick off in Britain very soon, Chariots
of Fire is the ideal movie to put you in the proper frame of mind. Highly
recommended.
FILM RATING (out of 5 - 5 being the best)
4.5
VIDEO/AUDIO
5
EXTRAS
4
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