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.

Another of the great British New Wave films of the early sixties, often called kitchen sink films for their honest portrayal of working class people in their daily lives, a group that had been largely left out of British cinema previously. This one features Richard Harris in one of his best roles as Frank Machin, a factory worker in West Yorkshire who seeks a way out of his dead end existence with his talent in playing rugby. Rugby is a rough sport and Frank is a rough guy. As he says, "It's Rugby. Soccer has stars". The owner of the factory, Mr. Weaver, sponsors the local team and after cajoling a tryout Frank makes the team with a handsome signing bonus.Frank's ambitions also include Mrs. Hammond, a widow in whose house he rents a room. He husband was killed in an industrial accident at Weaver's factory and she has been left with a young daughter. She is bitter about her husband's death and has almost given up on life. Frank's attentions are not at all welcome to her and one senses that part of his motivation in taking on rugby is to win her over by offering a better life.Frank, however has many problems of his own making, largely due to his hot temper and impulsive nature. When things seem to be going right, he will always do something to mess it up. It's not that he has some suicidal wish but his fiery nature mixed with an inability to understand his situation and self constantly get him into trouble, such as the scene when he takes Mrs. hammond out to a fancy dinner and finds himself totally out of his element.The story is told in flashbacks, gradually returning to the present. The black and white photography works well with the gritty realism of the time and place but is also very effective in an idyllic trip to the country with Frank, Mrs. Hammond and her daughter. Harris is excellent, showing tenderness as well as temper (we all know how he could do temper). Rachel Roberts is fine in the difficult role of Mrs. Hammond, a woman who is not altogether sympathetic. Lindsay Anderson's direction is very good, though many think the film a bit long at over two hours. The film could have used some editing and still made its point, but this is a small quibble compared to the power of the piece.Most of these kitchen sink films were about society and the British class system as much as they ever were about their characters, and this one differs in that it's a character study of Frank and finds problems more within him than in the society at large. He's an angry young man but the anger is simply within his nature and directed not at society but at whoever is at hand. This is somewhat of a difficult film in the sense that the characters are not very sympathetic and Frank is certainly no hero, but it is worthwhile nonetheless.