This Sporting Life (The Criterion Collection) [DVD]

It was in the early part of this decade, when I was in my late teens, that I first began my obsession with movies. It was in these formative years of film study that I first compiled my list of favorite actors, both of the leading and character variety. Though the list continues to grow to this day, there still isn't an actor I favor more than Richard Harris. I find it immensely fascinating how he could convincingly portray the supreme ruler of all Rome, Marcus Aurelius, in "Gladiator" and also so believably give such a nuanced perfomance of the poor, simple farmer Bull McCabe in "The Field". Then there was the soulful portrayal of the brilliant yet haunted Abbe Faria in "The Count of Monte Cristo", and the brief yet scene-stealing role of English Bob in "Unforgiven".Yet, while I had loved each of these performances, they all fell somewhere within the twilight years of his career. I was more than curious to see the early work of Harris and felt that the 2008 Criterion Collection release of "This Sporting Life" would be a perfect place to start. Harris was nominated for an Academy Award for his performance here, the only time he was so honored until he received the nod for "The Field". It's a crime he never won either time, because there's no question that he deserved the trophy for each film."This Sporting Life" is, in a word, a masterwork. Though I must mention Lindsay Anderson's adept direction, the lion's share of the credit must go to Harris, who portrays miner-turned-rugby-player Frank Machin. It's definitely in the top ten pantheon of film performances because Harris wholly inhabits this role. When he's passive or downtrodden, the depths of his troubles are etched on every line of his face. When he's upset or angry his intensity is electric! The DVD cover captures one of my favorite moments from the film, when Machin is observing himself in the mirror and thrusts a punch into the air. There's a raw masculinity to his demeanor, so much so that his destructive spirit is at once intoxicating and repulsive.I find it difficult to write about the plot of the film, because when the film is over the broad details seem immaterial. The sole reason to watch this film is for Richard Harris, though it bears mention that all the supporting actors turn in strong performances (especially Rachel Roberts performance as Margaret Hammond). Concerning the plot, it's interesting to note that the film is complex enough that audiences are nearly always divided on who is the "villain" of the piece. Personally, I placed great sympathy with Machin, even though he plowed through his world with reckless fervor and often displayed little consideration for the feelings of others. In many ways he was, as Hammond so succinctly phrased it: "just a great ape on the football field".I'm amazed this film isn't more iconic than it is, the themes presented resonate with me to this day - particularly as a young man. Machin embodied a more pure 'rebellious youth' than films such as "Rebel Without a Cause" because he was dealing with reality head-on. There was no placement of blame on a broken marriage between his parents or that he moved somewhere that he didn't like. It wasn't because his puppy died or a kid at school bullied him. Machin had very real and very serious problems. It took nearly all he had to confront them, and often, he seemed to be unable to. The sheer weight of it all was too much too bear at times, he would shut himself off from the world and those around him. But, in the end, Machin was still a good man at heart. The picnic scene is beautifully shot and clearly portrays that Machin's humanity is very much intact, particularly in his energetic and playful interactions with the children.It could be argued that Machin was driven to his destructive tendencies as a manner of coping with the fact that Hammond simply could not return his deep affection for her. By the same token, it could be said that Machin drove the poor widow mad with his overbearing presence and lack of emotional intuition. It's these dense layers within the film that make is so compelling to watch, even though it's utterly depressing to watch two people burn out so quickly and violently. It feels starkly realistic because 'till the bitter end there is little hope of something better.The Paul Newman film "Hud" was once my favorite character study, but these days it takes a distant second to "This Sporting Life". I've seen the film three times so far, and each time I don't feel melancholy afterward, but rather a sense of relief at the notion that - perhaps - things are better for both of them in the end. Maybe, just maybe, the end result isn't so bad after all. I suppose it's a testament to the impact of the film that I'm so completely swept away with it that I delude myself with fantasies of a happier conclusion.

This is one of those classic well-regarded movies that probably a lot of people haven't seen or may not have even heard of. A good friend of mine spent time with and got to know Richard Harris in the 90's, so I was interested in seeing this. Harris plays a rugby player, (ergo the title), which he was in his youth. It's the angry tough guy with depth and a heart, think Brando in the 50's. Probably the best acting Harris has ever done, something which he probably knew, as he recommended it to my friend who got to know him.

One of the greatest sports films ever made Lindsay Anderson's This Sporting Life is a film that while not always easy to watch demands to be seen. Richard Harris, in a Cannes best actor winning role, plays Frank Machin, a ex coal miner who becomes a rugy star in his north London community. Machin is a broodish brute of a man trying to escape his social situation in the only way he knows how by playing violent City League rugby. His success on the field is mirrored by his loneliness and detachment off the field as he attempts to gain the love of his emotionally dead widow landlady Margaret Hammond (Rachel Roberts).This film forms the template for many of the great sports films that followed it. It was especially important to Martin Scorsese in his film Raging Bull. Harris'performance is incredible. It is almost as if he were channeling Brando's performance in On the Waterfront. The film's structure is also unique. Machin's story is told in a series of flashbacks on the day that he got his teeth knocked out on the rugby field.This film offers an emotional rollercoaster ride like no other that I've seen recently.Shot in harsh white light by Denys Coop. The color palette matches the loneliness and social stratification felt by the main characters. This is not an easy film to watch but it does have its rewards. This is part of the origins of the so-called angry young man cinema of the 1960's. It was this type of film that introduced the world to Britain's working class.I viewed this film in the Paramount VHS edition which provided an adequate viewing experience. The film is available in a rare DVD edition. The costly nature makes purchase of the DVD impossible for me but it is my understanding that there are no special features.Do yourself a favor and seek it out. View it as a great sports film or social commentary but see it.

So glad to have secured a copy of this dvd. This is a must see film. It's gritty, emotional and compulsive viewing. Brilliant acting from the main characters especially Richard Harris. GET A COPY!

En una época como la actual, en la que nos venden que con un móvil, un patinete eléctrico y una tablet, cualquiera puede hacer una película, hay que valorar la dificultad de lo que de verdad es cine. Y hay que hacerlo tanto en su vertiente técnica como en la artística, económica, política, religiosa, social y, y para mí es el caso, coyuntural. Cuando un proyecto dura meses, y quizá años, y muchas veces no se puede controlar que el estreno de una filme coincida con un momento sensible y adecuado de la industria y/o el público, todo proyecto cinematográfico no es si no una aventura; arriesgada, aventurada si no... loca.Si 1963 es, si Europa está a lo suyo tras la Guerra Mundial. America a lo suyo tras la suya y todos a los suyo por la Fría y concretamente en Inglaterra acaba de publicar su primer disco un cuarteto que se llaman "Los Escarabajos" (mal escrito, según ciertas historias) pues hacer una película en blanco y negro, hosca, sobre una oscura relación entre un gañan arrogante; un bruto como al que Segismundo se refiere en el inefable Soliloquio que Calderón inmortalizó, bello y bruto como la vida y una amarga mujer, sí, amarga; amarga de sabor y trato, de aspecto y aroma, de color y brillo, pues qué puede salir..., esta joya.Una historia de siempre sobre los pobres (y no sólo de dinero); sobre los tristes; sobre los perdidos...; sobre, en definitiva, los hombres con miedo a qué es ser hombre y las mujeres que ya lo saben (y de sobra).Duro rato ha de emplearse en disfrutar de una historia mil veces contada, pero que por ello, por el hecho de que aún pueda conmovernos, debe intentarse.Disfrutadla.

Excellente interprétation de Richard Harris, ce personnage qui se débat dans un milieu qui ne l'accepte pas vraiment donne un certain malaise.

Der britische Regisseur Lindsay Anderson (1923 bis 1994) drehte zuerst Kurz- und Dokumentarfilme. Sein "Thursday's Children" wurde 1954 mit einem Oscar in der Kategorie "Bester Dokumentarkurzfilm" ausgezeichnet. In den 50er Jahren feilte er gemeinsam mit Karel Reisz und Tony Richardson an der neuen Bewegung des Free Cinema.Er hat aber nur sehr wenige Kinofilme gedreht - als Theaterregisseur hat er wesentlich mehr Stücke produziert. 1963 gab er mit der düsteren Sozialstudie "Lockender Lorbeer" (Original: This sporting life) sein Filmdebüt, die beiden Hauptdarsteller Richard Harris und Rachel Roberts wurden für ihre hervorragenden Leistungen in diesem Film mit einer Oscar-Nominierung belohnt."Lockender Lorbeer" wurde zum Filmklassiker und folgerichtig in die Liste der besten 100 britischen Film des BFI gewählt - er rangiert dort auf Platz 52. Sein später entstandener Internats-Film "If..." liegt mit dem 12. Platz noch etwas besser.Die Geschichte, die Lindsay Anderson erzählt, basiert auf dem gleichnamigen Roman von David Storey aus dem Jahr 1960. Es erzählt die Geschichte des Rugby-Spielers Frank Machin (Richard Harris) aus Wakefield, einer Bergbaustadt in Yorkshire, dessen romantisches Leben viel weniger erfolgreich verläuft als seine aufstrebende Sportlerkarriere. Der Roman trägt autobiographische Züge.Der Star des Rugby-Teams hat in der ersten Szene ein Spiel, dort wird er grob gefoult und sein Kiefer ist gebrochen. Vom Teamchef und Mäzen Gerald Weaver (Alan Badel) und seinem Teamkamerad Maurice Braithwaite (Colin Blakely) wird er zum Kieferchirurg gebracht, dort erinnert sich der Sportler an seine jüngere Vergangenheit, die eigentlich gar nicht so hoffnungslos und trist verlief, wie sie jetzt erscheint. Denn seine ebenso geschickte wie brutale Spielweise gefällt dem Publikum, den Teamchef und auch dem Vereinspräsidenten wie Charles Slomer (Arthur Lowe). So macht Frank schnell Karriere und dies überrascht auch seine verbitterten Vermieterin Mrs. Hammond (Rachel Roberts), die ihren Mann durch einen Arbeitsunfall verloren hat und immer noch um ihn trauert. Die Arbeiterwitwe hat zwei Kinder, mit denen sich Frank sehr gut versteht. Er macht auch der zugeknöpften Witwe immer wieder Avancen, doch die zeigt ihm die kalte Schulter. Sie ist teilweise sogar abweisend bis feindselig. Frank lässt aber nicht locker und irgendwann kommt es doch zum gemeinsamen Sex. Aber in ihrer Trauer ist es ihr unmöglich Zuneigung zu erwidern. Sie hält nicht mit Beleidigungen zurück - Frank selbst hat aber auch Probleme mit seinem neuen wohlhabenderen Leben. Er kann sich in guten Restaurants nicht benehmen und gibt sogar Weavers Frau Anne (Vanda Godsell) einen Korb, als die ihn zu sich nach Hause zu einem Schäferstündchen eingeladen hatte. Seinen alten Freund Dad Johnson (William Hartnell) lässt er inzwischen auch eher links liegen. Bald gibt es auch Streit mit Mrs. Hammond und Frank verlässt das Haus. Der Emporkömmling spürt vermehrt Unsicherheiten, auch auf dem Sportplatz gibts keine Befriedigungen für das labile Gemüt. Dann erfährt er, dass Mrs. Hammond wegen einer Gehirnblutung im Krankenhaus liegt...Am Ende wird er auf dem Platz ausgepfiffen - nein, "Lockender Lorbeer" ist kein Wohlfühlfilm. Zur Zeit seiner Enstehung war dieses Liebespaar im Film weit von dem entfernt, was das konservative Mittelklasse-Kino im Allgemeinen zu bieten hatte. Die Emotionalität dieser beiden Figuren wirkt zerstörerisch und der psychologische Bereich der Protagonisten bildet den Schwerpunkt von Andersons Arbeit. Es wird schnell klar, dass der Bergarbeiter Frank seinem Milieu wahrscheinlich gar nicht enfliehen kann, so sehr er es sich auch wünschen würde. So bleiben alle Hoffnungen unerfüllt. Das private Glück bleibt ihm versagt und am Ende scheint auch sein Ruhm auf dem Platz in Gefahr zu sein. Alles wirkt etwas irritierend und sperrig. Und Franks Stern, ist im Begriff zu sinken.

This movie was a surprise for my partner because her dad is in the background of one of the scenesShe was very happy with the videoThank you