Film #162 - Chariots of Fire (1981)
Chariots of Fire is a somewhat fictionalized account of the 1924 British Olympic track & field team, their struggles (both personal and professional) and how they navigated these difficulties to bring home glory.
The focus is on two members of the eventual team, Irish missionary Eric Liddell (Ian Charleson) and the Jewish Cambridge man Harold Abrahams (Ben Cross). Their approaches couldn’t be more different. Liddell runs naturally, bouyed by his belief that his skill is a God-given talent and that using it brings greater glory to the Lord. Abrahams is a technician, eventually employing a personal trainer, Sam Mussabini (Ian Holm), to eke out every last bit of speed possible. Along the way, we also meet an aristocrat, Lord Andrew Lindsay (Nigel Havers) and Aubrey Montague (Nicholas Farrell), the “ordinary man” (if any Olympic athlete can be ordinary).
At Cambridge, Abrahams must cope with the level of anti-semitism from the Master of Trinity College (John Gielgud), the difficulties of his love affair with a leading actress, Sybil Gordon (Alice Krige) and disagreements with his use of a professional trainer. Meanwhile, Liddell struggles with the question of his faith and whether engaging in athletic competition is in conflict with his calling. In particular, he feels resistance from his sister, Jennie (Cheryl Campbell), who thinks he’s being led astray.
The film does a stellar job in recreating the times. There never seems to be an anachronistic portrayal, as so often happens with historical films. There seems to be a fanatical devotion to showing people how they were, warts and all, rather than how the filmmakers would like them to be. Oh, there’s fudging of specifics (the most contentious being that they show Abrahams breaking a school record he didn’t break), but nothing that really alters the historic place these men held. The biggest inaccuracies are those of omission, not mentioning things that happened in order to ramp up the drama on the things they want to show. Again, these are not detriments, but necessary devices to keep things focused and clear.
The cast is universally excellent, with particular note to Cross and Farrell. A great deal of the film is told from Aubrey’s perspective and it is that perspective (the ordinary man looking up at the greats) that anchors the film. It’s a true supporting role, because without Farrell’s Aubrey, the film would collapse. Also Ian Holm does his usual great work as Mussabini, understated or agitated as the scene required. It’s not surprising that he was the most decorated of the cast. What is surprising is how none of the non-established stars became real powerhouses after this film. Basically, it seems to have had no effect, which is a darn shame.
Visually, it must be noted again how the times were faithfully recreated. Costumes and sets are effectively executed and there’s not a setting out of place. The cinematography is beautiful, with the film’s well-known use of slow motion proving truly emotional, rather than just for effect. But even the non-competition footage is incredibly evocative. strengthening the overall experience.
Chariots of Fire is a film that could easily prove to be less than memorable as time goes by. It’s just the kind of film that the Academy likes to award Best Picture, but is almost completely forgotten years later. While the fan in me would have liked to have seen Raiders of the Lost Ark win (it’s certainly had the best long-term profile), it’s hard to argue against Chariots versus competition like Atlantic City, On Golden Pond and Reds, films that are hardly even thought of today. Chariots of Fire may not be the best remembered “Best Picture”, but it’s a class production through and through and has proved to be timeless and more than worthy of its accolades.