Chariots Of Fire

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Religiosityin sports isn’t without ambiguities. At times the message can be a bitglib, as when athletes credit God with helping them when they win,though when they lose no one ever says God helped the other team.

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Onthe other hand, it’s hard to be too cynical about the sight of NFLplayers kneeling on the field after the game with players from theother team in acknowledgment of a fraternity that transcendscompetition.Two very different approaches to religion and sport are at theheart of Chariots of Fire, a period piece that explorestimeless themes of temporal ambitions and higher purposes, ofcommitment and sacrifice, of ability and spirit. The film isbased on the true story of two British sprinters in the 1924Paris Olympics, one Christian, one Jewish. Neither is out forpersonal or national glory; for each competing is a matter of ahigher calling, but in two very different ways.For Harold Abrahams (Ben Cross), a proud English Jew from awell-to-do family, running is a weapon against antisemitism — away of validating his worth, and by extension his Jewishness, tohis Anglo society and to himself. There’s something to be saidfor this approach: After he shatters a long-standing speedbarrier at Cambridge’s Trinity College, the master (John Gielgud)remarks, 'Perhaps they’re the chosen people after all.' In a way,he’s right: As an athlete Abrahams is driven by defiant anger andshame engendered by the legacy of antisemitic prejudice that hasparadoxically gone hand in hand with the Jews’ divine election.(Thus Tevye’s rhetorical question in: 'Couldn’tYou choose someone else for awhile?' )For Eric Liddell (Ian Charleson), a devout Scot withmissionary aspirations, running is something he can do to giveglory to God as flowers glorify him by growing and the sun byshining. In the film’s most quoted line, Liddell tries to explainthe value of running to his pious sister, who can’t quite see thevalue in so worldly a pursuit: 'I believe God made me for apurpose, but he also made me fast.

And when I run, I feel hispleasure.' The contrast between the two men’s motivations is highlightedin a number of ways.

Each man’s commitment goes well beyondwhatever obligation either feels to the expectations of theirsociety, but where Abrahams’s commitment leads him to dispensehimself from unwritten rules about amateur athletes not receivingprofessional coaching, Liddell brings his own additionalunwritten rules to his participation. For Abrahams, the chiefcrisis, after losing a race to Liddell, is whether he can win.For Liddell, who discovers en route to the Olympics that thequalifying heat for his event is on the day he calls the'Sabbath,' the crisis is whether he can even qualify. WhereAbrahams must swallow his pride and find the courage to run,Liddell must swallow his hopes and find the courage notto.Wisely, the film contrasts the two runners without directlypitting them against each other. In the end, their goals aren’tin competition with one another, and it is possible to believe,in this case, that the Lord’s favor truly rested on both of thesetwo runners in 1924, one of the old covenant, one of the new. Tags:,.Copyright © 2000– Steven D.

Chariots of Fire, British dramatic film, released in 1981, that tells the true story of two British runners who brought glory to their country in the Olympic Games of 1924 in Paris. The film won both the BAFTA Award and the Academy Award for best picture and also garnered the Golden Globe Award for best foreign movie.