This Sporting Life

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Not to be confused with The Sporting Life.
This article is about the film. For the radio programme in Australia, see This Sporting Life (radio program). For the Skint & Demoralised album, see This Sporting Life (album).
This Sporting Life
Sporting-life-poster.jpg
Directed by Lindsay Anderson
Produced by Karel Reisz
Written by David Storey
Starring Richard Harris
Rachel Roberts
Alan Badel
William Hartnell
Music by Roberto Gerhard
Cinematography Denys Coop
Edited by Peter Taylor
Distributed by Rank Organisation, Janus Films
Release date(s) January 1963 (1963-01)
Running time 134 minutes
Country United Kingdom
Language English
Budget £230,000[1]

This Sporting Life is a 1963 British feature film based on a novel of the same name by David Storey which had won the 1960 Macmillan Fiction Award. It recounts the story of a rugby league footballer, Frank Machin, in Wakefield, a mining area of Yorkshire, whose romantic life is not as successful as his sporting life. Storey, a former professional rugby league footballer, also wrote the adapted screenplay.

The film stars Richard Harris, Rachel Roberts, William Hartnell and Alan Badel. It was directed by Lindsay Anderson. The film was Richard Harris' first starring role, and won him a Best Actor Award at the 1963 Cannes Film Festival.[2] He was also nominated for an Oscar for Best Actor in a Leading Role. Rachel Roberts won another BAFTA award for This Sporting Life (her first was for Saturday Night and Sunday Morning) and an Oscar nomination for best actress. Harris was nominated for the BAFTA that year but was topped by Dirk Bogarde for his role in the Joseph Losey production The Servant.

Plot[edit]

Set in Wakefield, the film concerns a bitter young Yorkshire coal miner, Frank Machin (Harris). Following a nightclub altercation in which he takes on the captain of the local rugby league club and smacks a couple of the others, he is recruited by the team's manager, who sees profit in his aggressive streak.

Although at first somewhat uncoordinated at league, he impresses the team's owner, Gerald Weaver (Badel), with his spirit and brutality of his playing style during the trial. He is signed up to the top team as a loose forward (number 13) and impresses all with his aggressive forward play. He often punches or elbows the opposition players throughout the game.

Off the field, Frank is much less successful. His recently widowed landlady, Mrs. Margaret Hammond (Roberts), a mother of two young children, lost her husband in an accident at Weaver's engineering firm but gained no compensation because it was ruled to have been a suicide. Frank eventually has sexual relations with Margaret, but in her grief she cannot return any affection; she sometimes insults him, referring to him as "just a great ape," and finds his lack of social graces, for instance, at a smart restaurant, somewhat off-putting; he is occasionally violent towards her. He leaves and stays at a homeless men's shelter after a row over her late husband. He has another quarrel with Weaver and his predatory wife, whose advances he rejects much to her chagrin. Intending a reconciliation with Margaret, he finds that she is in a hospital. She is unconscious, having suffered a brain haemorrhage shortly after their split; she soon dies without regaining consciousness. In the end he is seen as "just a great ape on a football field", vulnerable to the ravages of time and injury.

Cast[edit]

Production[edit]

This was Anderson's first feature film as director, although he had won an Oscar for his short documentary, Thursday's Children (1953), one of many documentaries he had made in the previous decade. The project had first been discussed by the Rank Organisation as a possible project for Joseph Losey, the exiled American film maker, and then was passed to Karel Reisz who, reluctant to direct another film on a Northern England subject so soon after Saturday Night and Sunday Morning (1960), passed it to his friend, Lindsay Anderson. Anderson accepted and Reisz produced.

Notable among the supporting cast is William Hartnell, who would soon gain notice as the First Doctor on Doctor Who. It was his role in This Sporting Life which brought Hartnell to the attention of the first Doctor Who producer Verity Lambert. It also featured the future Dad's Army star, Arthur Lowe, who also appeared in four later films directed by Anderson.

Filming locations[edit]

Many of the scenes in This Sporting Life were filmed at Wakefield Trinity's stadium, Belle Vue and at Halifax's then stadium Thrum Hall. The scene where Frank (Richard Harris) leaps from a bus to buy a newspaper, then leaps back on the bus was filmed at the top of Westgate, Wakefield. The location is still instantly recognisable today and has changed very little apart from the addition of small bars and clubs. The houses used for the outdoor scenes in This Sporting Life were actually filmed in Servia Terrace in Leeds.[citation needed] The canteen van was parked in Servia Grove.[citation needed]

Editing[edit]

Anthony Sloman wrote:

"By 1963 the British New Wave had beached, and Peter Taylor edited the superb This Sporting Life, the début feature of the cine-literate director Lindsay Anderson. It is a remarkable study of working class angst, with a cutting style like no other British feature before it, an ever-underrated achievement by Taylor..."[3]

A specific description of the editing has been given in the 2001 book by Don Fairservice:

From the start, Lindsay Anderson and his editor Peter Taylor show a determination to pursue a flashback-based narrative using bold-cut transitions. ... Cut-transitions link these plangent and understated images together in way that seems to demand that their meanings be understood. It is an important restatement of the way that image-driven filmmaking engages the spectator.[4]

Lindsay Anderson on directing Richard Harris[edit]

Anderson, who often developed unrequited feelings for unobtainable heterosexual men,[citation needed] wrote in his diary on 23 April 1962, after the first month or so of production: "the most striking feature of it all, I suppose, has been the splendour and misery of my work and relationship with Richard." He felt that Harris was acting better than ever before in his career, but feared his feelings for Harris, whose combination of physicality, affection and cruelty fascinated him, meant that he lacked detachment he needed as a director. "I ought to be calm and detached with him. Instead I am impulsive, affectionate, infinitely susceptible."[5]

Critical reception[edit]

Though on first release the film was lauded by critics, it was a commercial disaster with the home audiences and the critics, and prompted John Davis, by now the Chairman of the Rank Organisation Board to announce that he was pulling out of British New Wave, "kitchen sink" drama, nor would his company make such a "squalid" film again.[6] In the United States, the film was well received. Variety praised its "gutsy vitality", and praised the production of Reisz and the directorial feature début of Anderson, who "brings the keen, observant eye of a documentary man to many vivid episodes without sacrificing the story line."[7]

John Russell Taylor in 1980 thought it a mistake to link This Sporting Life with the 'kitchen sink' films released in the preceding few years, because its "emotionalism" made it "unique", apart from Anderson's other work:

"every scene in the film is charged with the passion of what is not said and done, as well as what is. ... Though real enough and believable enough, this kind of amour fou is remote indeed from what the staid middle class cinema would generally consider as realism."[8]

On 22 January 2008, the film was released as a Region 1 DVD by the Criterion Collection.

See also[edit]

References[edit]

  1. ^ Alexander Walker, Hollywood, England, Stein and Day, 1974 p176
  2. ^ "Festival de Cannes: This Sporting Life". festival-cannes.com. Retrieved 2009-02-27. 
  3. ^ Sloman, Tony (1998). "Obituary: Peter Taylor", The Independent, 6 January 1998. Online version retrieved 8 April 2008.
  4. ^ Fairservice, Don (2001). Film Editing: History, Theory, and Practice: Looking at the Invisible (Manchester University Press), p. 316. ISBN 0-7190-5777-9. Online version retrieved April 13, 2008.
  5. ^ Diary entry, 23 April 1962, on Richard Harris and the making of This Sporting Life (LA 6/1/33), Anderson Collection, University of Stirling; Paul Sutton (ed) The Diaries of Lindsay Anderson, 2004, London: Methuen, p75
  6. ^ Booklet for This Sporting Life, region 2 DVD, Network 2007, unpaginated [p23].
  7. ^ This Sporting Life, excerpt from a 1963 review, Variety, accessed 15 February 2008
  8. ^ John Russell Taylor "Lindsay Anderson and Free Cinema", in Richard Roud (ed) Cinema: A Critical Dictionary, Volume One, 1980, London: Secker & Warburg, p76-82, 79

External links[edit]