Balboa in Breeches

Rating: Null/10 (20 November 2012)

"Nazi art is both prurient and idealising. Its aesthetic (physical perfection, identity as a biological given etc) implies an ideal eroticism: sexuality converted into the magnetism of leaders and the joy of followers. The fascist ideal is to transform sexual energy into a "spiritual" force; pinups who are both sanctimoniously asexual and (in a technical sense) pornographic, for they have the perfection of a fantasy." - Susan Sontag
Hugh Hudson directs "Chariots of Fire". The plot? Ben Cross plays Harold Abrahams, a Jewish student at Cambridge University. Harold faces anti-Semitic and class based persecution, but overcomes these through much hard work and tenacity. Eventually Harold becomes a star sprinter who wins a chance to participate in the upcoming, 1924 Olympic games, held in Paris. Alongside Harold is Eric Liddell (Ian Charleson), a devout Christian who sees running as a means of both exalting God and professing his faith. He too qualifies for the Olympic Games. On route to the event, Eric learns that his race will be taking place on the Sabbath. Not wishing to "offend God", Eric refuses to run. The Prince of Wales contacts Eric and pleads with him to change his stance, but Eric remains steadfast. The world rallies behind Eric, celebrating his unwavering principles. Eric later signs up for a longer, 400 meter race, which takes place after the Sabbath. He unexpectedly wins. Harold likewise wins his race. We applaud our underdog heroes.
A box-office smash and "classic of British cinema", "Chariots of Fire's" content and intent, subtext and text are in constant opposition. The film pretends to celebrate the downtrodden, the persecuted, the merit of ideals, personal beliefs and courage, but espouses Victorian values, religious fundamentalism and revolves around a couple of heroes who exist to curry the favour of a glorified patrician class.
Unsurprisingly, "Chariots" was released at a time when faith in the nation state was at a remarkable low. With millions unemployed, riots in the streets, deep financial recessions and a dwindling faith in British power/prestige, "Chariots" rekindled a kind of manic patriotism; a fervent pride in all things Britannia. No matter that an arch conservative Prime Minister (Margaret Thatcher) was gearing up for a needless war with the Falklands (a royal Wedding occurred over the summer, boosting nationalist ecstasy), privatising away the country and kicking millions out of jobs. No, now was a time for the masses to feel good about themselves again, dig deep and hanker nostalgically for the Empire's past glories. The film's so sinisterly sexy you feel like wrapping yourself up in a Union Jack, running naked down Brighton Breach and dry-humping Lord Nelson's column all at once.
So though presented as figures who "revolt against the establishment", Harold and Eric do something completely else, championing elitism, competition and aristocratic national/religious traditions. The film pretends to be about an oppressive, class-ridden 1920s England, but hungers for elitism. Significantly, most of the film is bathed in xenophobic jeers, digs at other nationalities and French bashing. Elsewhere the director puts the worst anti-Semitic remarks in the mouths of disabled working-class veterans. Liddel and Abrahams may seem to revolt against a certain order (or triumph despite it), but they exemplify its traditions and values above anyone else in the film. In fact, Liddel is too conservative even for the aristocracy; he believes in God above country, a much more archaic allegiance. And however much Abrahams complains, he still desires more than anything to become part of the aristocracy he supposedly despises.
Leni Riefenstahl, the poster girl for fascist art, released the visually spectacular "Olympia" in 1938. "Chariot's" own aesthetic appropriates the fascist chic of Riefenstahl's films/photographs, salivating over Ubermenschian bodies whilst oozing a Wagnerian physicality, mixed with a little romanticised "Triumph of the Wills" styled muscle porn. This is designed to stir up the audience's basest, most knee-jerk nationalism (Thatcher would use the film to rally support for her Falkland War), but it's also positively riveting; like an art house "Rocky" movie (complete with cranky old mentor and simple "be all you can be/make your dreams come true" plot), only with less skin and more stiff upper lips. Much of the film consists of powerful slow motion shots of running men, hordes of chanting onlookers and pulsating muscles set to a now iconic Vangelis score. Vangelis' electro-synth orchestrals are the film's big stroke of genius, the composer's music oddly juxtaposed to the film's more primitive values/aesthetic (though some say Vangelis' Wagner inspired tunes are themselves retro).
"Chariots" was based on a true story, but changed a number of subtle things in order to bolster its underdog tale. In real life Abrahams did not identify with Judaism, eventually became a Cacholic, was a boozer, was not a determined workaholic, had no aspirations toward winning a gold medal, his wealth ensured him a privileged position in English society and he did not have to struggle against prejudice to gain Cambridge admission. In Eric's case, he long knew his race was to be held on the Sabbath, no meetings with the Prince of Wales took place, and the international public were behind the Brits and booed the Americans, the reverse of what Hudson's film shows. And while the film portrays 1920s Britain as a hotbed of anti-Semitism, such feelings were consigned to a few areas of the establishment. It was Britain's rulers who hated Jews (not the working class), as it associated them with the Marxism with sought the destruction of class-exploitation and aristocracy. Elsewhere Parliament was mobilising plans to establish a Jewish homeland in Palestine.
Still, you want Wagnerian slow-motion shots of Vangelis sprinkled ubermensch goodness? "Chariots of Fire" delivers. Balboa would be proud.
7.9/10 – Worth one viewing.