Sporting Life

Gripping, arresting and totally believable from the start, this is excitingly authentic. The terrible game of rugby league football is beautifully shot in all the horror of its violent thuggery and macho heroism. The streets, the houses, the shops, the pubs, the clubs and the children playing all evoke memories of that admittedly dreary but familiar visions. The living spaces, some cramped and dinged, like mine a that time, and others spacious and exuding that illusive smell of success (or upper class thuggery!) All this is fine and Richard Harris is fully believable as the film's angry young man. It is just that as the, rather overlong, film continues we get less of the 'sporting life' and the 'dead end streets' and more of the 'love' story and rather clumsy stabs at class warfare. In the end we are rather tiring of all the 'I love you', 'I hate you' cries and welcome the closing credit but it is still very much a worth seeing film that probably catches more of what it really felt like to be in Britain late 50s/early 60s than any other film I have seen.

Frank Machin is an amateur rugby league player in Yorkshire. Ambitious within the sport, Frank pushes himself in front of the local scouts and soon is signed to one of the professional clubs and able to hold out for £1000 down to join. As he rises within his own world, Frank has more resources and more opportunity but a strained affair with his landlady Margaret and his inability to shake off his basic roots see him frustrated and pained with his journey.

Like many others have said in relation to this film, British cinema did have something at one point. The "Free Cinema" movement of the 1950's gave a home to a slightly more realistic form of cinema and, although I do not like all within that "movement" that I have seen, I do think that Anderson's work with that paved the way for this. At times the film is too keen to revel in the depiction of working class England but this isn't too much and perhaps, if you think of the context of the period (where such views were not the norm) then you can perhaps understand why. However the power of the film is less in its depiction of the working class work (although this is indeed of value) but more in the convincing exploration of the character of Frank.

Here is a man who has aspirations but seems unable to reconcile these goals to be "better" with the fact that he is from the working classes and doesn't fit with those above him. Likewise he needs affection, love and intimacy but his outward emotions are much cruder and he is quick to lose his temper and resort to violence as the simplest reaction. It is a well written script and it doesn't push the characters or emotions past where they would naturally go for the sake of the film; you can see this in the conclusion which is meaningful and ultimately quite downbeat. Anderson's direction is suitably gritty and natural for the material, but it was Harris that impressed me most.

His performance can be mistaken for being a bit showy and loud and some viewers have made that call. However for me this was his character's boorishness, a quality that he sinks into with ease. However where Harris really does his best work is in the moments just before this happens, or immediately afterwards where, without words, we can often see this struggle, this conflict within himself. It is hard for me to describe here in words so think how difficult it must be to do as an actor but Harris pulls it off. He is well supported by Roberts and they share some excellent scenes. Smaller roles are also well filled with natural turns from the likes of Hartnell, Lowe, Blakely and others; but the film is Harris'.

Not perfect and perhaps a little longer than it can sustain, this is an impressive film. The working class depiction does seem a bit heavy at times through modern eyes but in the emotion and development of the characters the film is hard to really question. Engaging, well written and well delivered – like others have said, where are the British classics like this now? Four Weddings? Do me a favour...

There's a very angry lad by name of Frank, miner by day, weekends he's down the flank, quite a vile kind of guy, couldn't like him if you tried, if he had a chain you'd give it a good yank. He lodges with a lady Mrs. Hammond, he rants and raves, and issues her demands, of how to live her life, causing conflict, grief and strife, he's just desperate to ensnare, to trap, then bond. A chance to become pro, is signed and sealed, gives him money he can brandish, ply and wield, force landlady to his ways, bullies her until she lays, she's defenceless, has no cover, she has no shield.

One of the most dislikeable characters you're likely to come across, brilliantly performed by Richard Harris, who only occasionally reminds us of his native brogue, while he destroys the life of his landlady, superbly performed by Rachel Roberts. It's just a shame that people like this still exist today.

"This Sporting Life" is one of the most famous of the British "kitchen sink" dramas of the 1950s and 1960s ("kitchen sink" films were very gritty, social realist films which were very popular in Britain at one time).

Frank Machin (Richard Harris) is a brutal, young miner in a city in northern England. Hoping for fame and fortune, he becomes a successful Rugby League football player. He uses his fame and fortune, along with physical violence, to try to force his widowed landlady (Rachel Roberts) to fall for him.

Photographed in bleak black-and-white, the film's scenes of emotional and physical domestic violence are still shocking today. Also notable are the violent, stylishly-shot rugby matches.

The cast are brilliant without exception, especially Richard Harris who manages to invest even his totally unsympathetic character with some degree of humanity.

Great movie.

Ostensibly a sport-drama but the main plot of the movie is as a relationship / human drama. Very thoughtful and emotional plot.

Great, gritty direction by Lindsay Anderson. The use of black-and- white photography helped the feeling of desolation, melancholy and emotional emptiness.

Requires some patience though - starts slowly.

Good performances by Richard Harris and Rachel Roberts, both of whom received Oscar nominations for their efforts.

Worth watching.