Best Picture Winner: 1981

Chariots of Fire (1981)

Two talented runners, both of whom are harassed to varying degrees due to their religious beliefs, overcome obstacles to participate in the 1924 Olympic Games. Chariots of Fire explores the motivations behind what made these two men pursue their dream of competing.

Harold Abrahams (Ben Cross) arrives at Cambridge with a chip on his should. Being Jewish he is very sensitive to the prejudices that exist against his people. His sometimes abrasive nature is offset by his fierce loyalty, and he wins the admiration of his peers by his speed on the race course. Meanwhile Scottish missionary Eric Liddell (Ian Charleson), who has returned home after spending time in the orient, is gaining notoriety for his abilities as a competitive runner. His sister feels his devotion to running is in danger of distracting him from his religious calling. Liddell thinks he can race without it affecting his commitment to Christ. The two men learn about each other and find themselves competing on the same side of the 1924 Olympics. Can they both prevail in the ultimate test of their gifts?

Chariots of Fire is a handsomely produced period film which believably captures the look and feel of 1920s Europe. The film is documentary-like at times. And there is something naturally compelling about stories that features characters being told they shouldn’t be doing things they should be. While the film has no difficulty in making us cheer for the Liddell character, it simultaneously refuses to make Abrahams warm and fuzzy. His pride and arrogance threaten at any moment to leave the audience not caring about what happens to him. He will do anything to win. But when he enlists the help of an Italian coach (Ian Holm) and is chastised for it by members of the Cambridge hierarchy, we feel the same sense of indignation. Suddenly we’re on his side too.

While based on true events, however, Chariots of Fire runs into some dramatic problems as the film progresses. Tension actually seems to dissipate instead of build as we near the final contests. There isn’t much suspense in the races themselves, which are shot ineffectively in slow motion. The overall feeling of Chariots of Fire is an impressive build up to a rather obvious conclusion. We don’t feel the emotions we should be feeling in the climatic races.

The result is a film that is easy to admire but not fully embrace. That it won Best Picture over Raiders of the Lost Ark, one of the truly great cinematic experiences of the 1980s, indicates a hesitation on the Academy’s part to recognize greatness regardless of genre as opposed to which picture was actually best. Chariots of Fire is a noble effort and worth seeing. But it ranks as one of the weaker Best Picture winners.