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Since 06/09/00
Certainly, it is the most awarded such movie. It won two major Oscars, Best Picture and Best Original Screenplay (Colin Welland), as well as two lesser ones, Best Original Score (Vangelis) and Best Costume Design (Milena Canonero). In addition, it was nominated in three other categories, Best Director (Hugh Hudson), Best Supporting Actor (Ian Holm), and Best Film Editing (Terry Rawlings).
Must be a pretty good movie, eh? Well, it is a good film, but not much more, and it pales in comparison with at least three documentaries about the Olympics; the two Olympiad films by the notorious Leni Riefenstahl, and (best of all) the Japanese language version of Tokyo Olympiad (1965).
Before I go about smashing Chariots of Fire with a hammer, I will admit that it has excellent production values, in a genteel, upper-class British style. Now comes the entertaining part of the review.
Based on a true story, Chariots of Fire follows the rise to Olympic glory of two short distance track athletes from Great Britain, Harold Abrahams (Ben Cross) and Ian Charleson (Eric Liddell). Both are given compelling storylines: Abrahams is Jewish, you see, which means he doesn't quite fit in with the Protestant gentry. Although Abrahams' religion goes no farther than does mine, which means it is more a word to put on a form than it is a lifestyle to fulfill. And the 'prejudice' he has to put with is the occasional blue-blooded snort, which is certainly nothing compared to what blacks of the era faced, who were not allowed to compete at all despite their obvious superiority in short distance track events.
Liddell, on the other hand, is so devoted to his missionary work that he refuses to race on Sundays. Perfect in every way, Liddell will bring tears of pride to every British mum (even if he is a Scot) when he tells off the Prince of Wales, although in delicate terms.
With our heroes racing for their respective religions, in addition to both King and Country, the only question that remains is which one will win the Gold in the 100 meter race. This is neatly solved by putting Liddell into another event.
Researchers have blown apart the chronology of the 'true story'. For example, Abrahams was not the first man to complete the College Dash, he met his future actress wife only after the Olympics, and Liddell's sister actively supported his athletic career. Jackson Scholz did not hand Liddell a letter before the 400 meter final, and Liddell knew months in advance that the 100 meter heats fell on Sunday.
Further, one would think from the movie that these were the only track and field events at the 1924 games. Liddell picked up a bronze medal in the 200 meters, losing to Jackson Scholz, and Abrahams won silver as part of the 4x100 relay, losing to the U.S. team. Of course, any Olympic medal is an outstanding achievement, but finishing behind the Yanks is hardly an uplifting moment for the targeted British audience.
And most likely, the Master of Trinity (John Gielgud) did not rebuke Abrahams in private for using a professional trainer. All these inventions of the director and writer were done for dramatic effect, but without the camp aspects that make these things fun (see Vanessa Redgrave in Mary, Queen of Scots for comparison).
But what annoyed me most about Chariots of Fire is the presentation of the British blue-blooded youth of the era. Nappily dressed and homoerotic, they never curse, get stoned or gamble, make awkward passes at women, or have automobile accidents. Their idea of fun is sporting events and sing-alongs at the piano. It is a depiction that simply doesn't ring true, although it makes a direct nostalgic appeal. Ah, that's the way it was, wasn't it. I don't think so.
What's left unmentioned is Vangelis' synthesized score, which crawls at such a stupor that the athletes must be filmed in slow-motion in order to accommodate it. The score is obvious elevator music, however elegant, and it's no wonder that Vangelis returned to obscurity afterwards.