La solitude du coureur de fond

A powerful and absorbing commentary on the plight of poor adolescents in working-class British society. The story is told through flashbacks, as a reform school delinquent recalls his troubled home life and the events that drove him to become what he is.

Colin (Tom Courtenay), the rebellious young man, embodies the depths to which one can sink as a result of poverty. When his father dies, he is forced to become the figure of stability in the lives of his abrasive mother and all his siblings. The incessant desire for money, instilled in him by his mother, drives him to rob a bakery. This lands him in reform school, where his aptitude as a long distance runner catches the eye of the school's progressive governor (Michael Redgrave). The governor has resolved that his students must defeat the local public school in a race, and puts Colin in training to represent them.

Running provides Colin with an opportunity to escape his problems, vent his aggressions, and consider his prospects. The governor takes a liking in him and begins giving him special privileges. He is forced to decide if he should continue with his defiant behavior, or instead play by the rules.

Redgrave wisely plays the governor not as a stereotypical prison warden, but as a fair and rational man driven to win. Courtenay's performance is nothing short of brilliant. He captures all the agony of an individual forced to mature before his time, molded by a society which has no use for his kind. Do any of the inmates in the school really reform, or do they all just `play the game' until they are released? This is among the many pertinent questions raised by this key film of its time.

This film was seen to be the last of Woodfall's 'kitchen sink' dramas. There are great performances by Tom Courtenay and James Bolam as the two borstal boys. Colin (Courtenay) is very much a nihilist rejecting everything around him, like Arthur Seaton in Saturday Night and Sunday Morning.

The story of Colin's refusal to fit into the pattern of 'model prisoner' or 'consumer' is well conveyed by Richardson and the scenes which follow Colin's runs through the woods are beautifully shot. Overall the film was slightly jumbled and represented class through the use of stereotypes i.e. the 'progressive' prison governor and the patronising employer. A good film nonetheless.

A difficult one for me this. Back in the day when I saw it in the cinema, I was the same sort of age as the lads depicted and recognised the angst, anger and frustration depicted. in comparison to what is depicted I was privileged but even my grammar school had practices to be compared to those of a borstal and the bullying was rife. The other thing was I was also into cross country running. i didn't like doing it but it got me out of the school, I was good at it and the teacher enjoyed my successes. So a bit of a personal one but nothing can take away from the performance Courtney gives and it is clear that there is a seething revolutionary waiting to get out. The scenes on their trip to Skegness when we actually see the wondrous sand dunes and beach of Camber Sands are great and the young love well presented. Probably Richardson's finest film.

"Where the bloody hell have *you* been?" I'm sure this phrase appears in every black & white British 'kitchen sink' film of the time, usually asked by the exhausted mother or father of their wayward son. Colin Smith is a lad who is on the verge of becoming uncontrollable. Low-level crime and an aversion to authority make him every mother's nightmare. When his father dies and his mother takes up with a slimy fancy-man, Colin gets even worse and rebels. When he is convicted of burglary he is sent to Borstal and expected to bow down to the harsh routine, but his talent for running is spotted by the governor and he is encouraged to train for the inter-school Cup against the local 'posh' school. Will Colin do his duty? The film takes the unusual (for its time) structure of long flashbacks to Colin's home life while he is training. This is very effective and puts life into what could have been a rather dull film. There is one joyous scene in which Colin is first allowed out of the borstal gates to train - the sun is shining, we can almost smell the cool, fresh air and the soundtrack bursts into some glorious jazz trumpet. It's such an uplifting tune and so typical of its period that this film would be worth the price of the DVD just for this moment. Despite the depressing theme and grimy visuals, this film - made at the height of the 'gritty British drama' period of the 60's - is a delight.

I caught this film late at night on cable, and it is the first movie I've seen with Tom Courtenay in it, who is excellent (Either by coincidence or design, King Rat was on only a few nights later).

I'd never heard of this film before, but I was immediately transfixed by its look; something here is remarkable about the way black and white is used to further the overall feel and design of the film.

Having never been to the UK, I don't have a really good sense of how time passes there; to an American, England appears to age barely at all as seen through the cinema. But the themes here and the use of silence and the overall look of the film convey a society in the midst of change; as much as there is here that reminds one of the 1950s, there is an overwhelming 60s theme here about conformity and authority and society which is inescapable. I found myself cheering a bit at the end in the same way I cheered for Paul Newman in Cool Hand Luke; here, as in that film, is the story of an individual who refused to be "broken."

I'd definitely rate this film as a key 1960s film, black and white, and yet thoroughly modern and not at all dated. A lot of care was put into this film from the performances to the camerawork, and while it is not something that would keep you on the edge of your seat, it is certainly a compelling story, compellingly told.