CHARIOTS OF FIRE

UK, 1981, 124 minutes, Colour.
Ben Cross, Ian Charleson, Nigel Havers, Nicholas Farrell, Daniel Gerroll, Cheryl Campbell, Alice Krige, John Gielgud, Lindsay Anderson, Nigel Davenport, Struan Rodger, Ian Holm, Patrick Magee, Dennis Christopher, Brad Davis, Ruby Wax, David Yelland, Peter Egan, Yves Beneyton.
Directed by Hugh Hudson.

Chariots of Fire (a quotation from the patriotic hymn Jerusalem sung towards the end of the film) was one of the great box office popular successes of 1981. It was also an attempt to rekindle the British film industry. It was produced by David Putnam, the talented producer of a variety of films including Bugsy Malone, Foxes, Midnight Express. Hugh Hudson was a television director making his cinema debut.

The film evokes a period of England in its glory after World War One. It indicates that inner strength will break through times of crisis. It focuses on two athletics heroes, gives their backgrounds, intensity of rebellion against system, their intense drive towards gold medals at the Paris Olympics and their being feted by Britain. The film is impressive in its re-creation of its period, the glimpses of the Scottish Highlands as well as the Cambridge colleges. It moves towards rousing patriotism in the Olympic Games sequences. The unknown cast does very well with portraying the central roles and there are many guest actors in key supporting roles. Various techniques are used to communicate the atmosphere of training, running and the stress as well as the exhilaration of winning. Particularly impressive is the synthesiser music composed and performed by Vangelis Papathanassiou - especially the very popular title theme played at the background of the group of men training along the beach.

It is very hard not to become totally involved in the experience of the Chariots of Fire.

1. A British film for British audiences? For universal audiences? Recapturing of a period? Its emphasis on conventional and traditional attitudes but giving them inner strength? Achievement and personal drive? Heroism? The 1920s and the era of the 120s for the audiences of the '80s?

2. The quality of period re-creation: the sets and decor? The atmosphere of Cambridge, the colleges in Cambridge and their elegance? The Scottish Highlands and the Scots missionaries? The world of operetta? Paris and the Olympics? The elegance of the times, the spirit, esprit de corps, humour? Sport and its codes? Traditions? The importance of the pacing with the editing? Flashbacks, the two stories intertwining? The devices for the experience of running? The musical score?

3. The contribution of the music? Traditional songs and hymns? Jerusalem and the title of the film? The use of Gilbert and Sullivan? The original contribution by Vangelis - for running, for the Olympic Gaffes, the title theme?

4. The episodic structure of the flashbacks: the opening in 1978, the credits and final sequence of the runners? The transition to training in 1924 with the cricket match in the hall, the memories of 1919 building up to 1924? The conclusion of 1978 with the reprise of the beach running? The establishing of the stories of Abrahams and Liddell and their intertwining them? The long sequences for background and establishing their social status and drive. beliefs, friends? Their being brought together with Liddell's win? Crises for both? The Games? Audiences involved with both characters and their competitiveness?

5. The presentation of Britain with the emphasis on both England and Scotland? The importance of 1919 and the dead from World War One and the references to it? The war and the disillusionment with pre-World War One creeds? Belief in nationalism? Belief in international competitiveness with the spirit of the Olympic Games? The illustration of this with the British universities and their heritage? The traditions e.g. the initial run round the cloisters? The presentation of the corridors of power - at Cambridge with the masters, with the careers of their students? The freshmen's dinner with its ritual and the master's speech, the hymn singing? The masters and their watching, comments, pressures? The anti-Semitic tone? The peer group? Committees ? The monarchy (and the irony of Edward VIIIs abdication fifteen years later)? Empire and glory? The contrast with the simplicity of the Highlands, the intensity of the Scots missionaries? The simplicity of life, God-given drives, the place of religion?

6. The portrait of Harold Abrahams: the tribute to him at the opening, his status as the father of British sport? His arrival at Cambridge (with the insight of his seriousness during the cricket match already shown)? The friendship with Monty? The arrival and the talk with the porter and establishing his credentials? His being Jewish with the comments made about this? His telling Monty the story, especially about his Lithuanian father and his establishing his success, love for England, the success of his brother? Harold and his determination to prove himself? His grim determination? The strength of his friendship with Monty? The friendship with Lord Lindsay and Henry Stallard? The participation in the various clubs e.g. Gilbert and Sullivan?

7. His running and training? The significance of his losing against Liddell? His being shattered, Sybil's support? Mussabini's decision to take him on? The collage of his training - Sam's advice, particular techniques? Sybil and her visit to Lord Lindsay? The masters and their calling Abrahams in and suggesting that he stop training with Mussabini? The build-up to the Games, his being on the team, the voyage to France and his farewell to Sybil?

8. The contrast with Eric Liddell and the Highlands? The sporting fixture and the boys running, his speeches and genial approach, the strength of his relationship with his family? Sandy McGrath? persuading him to run and his winning? The audience seeing his potential through Sandy McGrath's eyes? Jenny and her hostility towards the running? Eric's father and his explaining that his speed was God's gift? His being fast, training, the trip to England by train, his friendliness towards Abrahams, winning? The various meetings and his preaching? Jenny's plea and his decision to keep running?

9. The ambition of the Games, his training and runs over the moors?

10. Sam Mussabini and his background, style, admiration for Liddell, not wanting to be asked to train Abrahams, choosing him to train? His background and the Cambridge masters looking down on him? His methods? His being installed in Paris for the Games?

11. The Olympic Committee? Lord Birkenhead and his interviews? The Prince of Wales and his presence? The various representatives? The pomp and circumstance, the dance and the dinner? The introduction to the New Zealand man? The inquisition and Eric being called before them? The Prince of Wales and his diplomacy, Lord Cadogan and his gruffness, the Duke of Sutherland and his diplomacy? Eric standing firm on his religious principles? The press and the headlines about his stand? Lord Lindsay and the satisfactory compromise?

12. The background to the Games, Parish 1924, the pomp of the opening ceremony, the march of the various national groups, national anthems, the French speech? The collage of Games events - Lord Lindsay and his place in the hurdles (and the memories of his training with the Champagne glasses on the hurdles? Monty and the hard running and lack of success?

13. Harold Abrahams' run? The film's slow pace in preparing intensely for the run? The talk with Sam? Sam's letter to him with the charm? The Americans and their support? Abrahams' run and his victory? The replaying of the run? The national anthem and Sam's delight and ruining his hat? Their drinking together? Sam's feeling of achievement? Abrahams having achieved what he intended - and his ability to live his life? His reticence in getting off the train? Reunion with Sybil? His subsequent career?

14. Eric and the preparation for his run? Pollock and his text - and his running with it? His speedy achievement? (The memory of his having been pushed over during his competitive run and his getting up and winning)? The background of his service conducted in Paris? The acclamation of the Olympic Committee - Jenny's presence with Sandy and sharing his achievement? His return with the group and their triumph? The postscript of his death after World War II?

15. The presentation of the American runners? Sam's slides and his comment on their skills? Their arrival in Paris, interviews? American style? Their training? Introduction to the Prince of Wales? The meeting with the English runners? Their skills and success? Pollock’s technical contribution to the making of the film?

16. The return of the group to England? The acclamation? The spirit of England and national sensibility in the '20s?

17. The achievement of the film and the engaging of audience enthusiasm for the past, for tradition, for sport, for heroics, for traditional values?