5/5 "Take a good look...there isn't a bleedin' man amongst them!"
  by Leif Sheppard
It was in the early part of this decade, when I was in my late teens, that I first began my obsession with movies. In 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.

2/5 VERY DISAPPOINTING
  by Mike Crestwood (New York)
As a rugger I wanted to enjoy this movie very much but was very disappointed. Richard Harris' Frank Machin character rocks back and forth between angry tirades and sadness, with no nuance at all to the character. The actress playing the lonely widow with whom he lives displays almost nothing but contempt throughout the film, and their first romantic scene (a semi-rape) seems incredulous. The story becomes convoluted: in the next scene, which takes place the next morning, he flies into a tirade as she snubs him. A little later they're happily dating, and then a scene or two later she rejects him after he acts stupidly in a restaurant. It doesn't hang together; it's as if the director filmed a bunch of angry scenes between the main characters and then pieced them all together in a string,losing the flow of the storyline. Another few examples of poor directing: In an early scene Machin refers to an old man friend as "Dad" and then moments later in the film walks up to him like he doesn't even know him to ask for a tryout with the local rugby club. Later the character is completley dropped from the film. Also, the rugby club manager befriends Machin early on, but later comes to hate him without any explanation given. As for corruption and greed affecting the poor working class, there is none mentioned. All the viewer sees is over-acting and bad directing. I really wanted to like this movie, but was disappointed. Save your money and get another movie instead!

5/5 This Sporting Life
  by Charlene (Hammond, IN)
One of the best British dramas I've ever seen. Sad, dark, gritty, realistic performances by the entire cast. A must-see.

5/5 Last of the British New Wave
  by Perry (London UK)
Two great performances by Richard Harris and Rachel Roberts (their best) but the film is very gloomy, did poor business in 1963 and ended the brief flourish of gritty realism that included Saturday Night and Sunday Morning and A Taste of Honey. It was Lindsay Anderson's feature debut and one of his better films. This Criterion DVD is as ever informed and packed with extra material, justifying the high price.

4/5 Harris & Roberts Take Us On An Emotional Ride
  by Craig Connell (Lockport, NY USA)
The film also went from a tight, action-drama in the first half hour to a straight drama the second half hour to a melodrama over the last hour. It had a tightness in the beginning, an edgy feel to it, whether it was "Frank" on the playing field or trying to make headway with "Margaret" and her two small kids. Then, it slowly got almost into a soap opera mindset but still kept my interest if only to find out what wound happen to this "couple."

Kudos to Richard Harris and Rachel Roberts ("Margaret") for keeping it interesting because it's a fairly long film and there is a long segment where very little happens.

Both Richrd Harris and Rachel Roberts were up for Academy Awards. I thought Harris was the standout here. It's hard to be a loutish rugby jock on one hand and a tender, caring guy at the same time, but Harris pulled it off. He made "Machin" a very believable character with that tough-soft combination. He even looked the part: a rough guy who could (and did in real life) muck it up with the best of 'em in a very physical sport. Harris was so good that one minute you really rooted for him; the next minute you'd think "the hell with this moron."

Roberts evoked similar emotions. You wanted this bitter and angry woman to be happy, yet sometimes you thought she didn't deserve someone who seemed to care. As a man, I felt Frank's frustration in trying to get to this lady, who might have a lot to offer (besides sex) if she'd just let go of the past and her anger. She's also upset about being a "kept woman," something this generation doesn't understand. In Margaret's day, you didn't stay in the same house with a man unless you were married. The neighbors were talking, and she was shamed.

Roberts, I am told, had many demons in her (real) life and didn't have the career of her co-star, but she was a fine, fine actress.

Both these man characters were simple and complex, at the same time. This is why I looked at this film as a character study of two people, instead of a depressing melodrama, which some have labeled it. Yeah, it's not "Mary Poppins" but I didn't find it that depressing. I also enjoyed William Hartnell as "Dad" Johnson. I wish his role had been bigger. He was a very intriguing guy. The rugby team's owners were portrayed - as many were back then - as nothing but exploitive.

Another big part of the reason I basically enjoyed the film was the excellent direction and photography, and the fantastic DVD transfer given to us by Criterion. This is a pristine print: no spots, now flaws - just a fabulous picture. If you enjoy the cinematography of film noir, you'll like this. If you appreciate powerful human dramas, you'll find it worth your while.