Rush (2013 movie) - more thoughts

When it was first released on DVD, I composed a blog post reviewing the 2013 movie "Rush".  This is the Ron Howard film which tells the story of the Seventies Formula 1 drivers Niki Lauda and James Hunt.  I recently watched the movie again, and wondered whether my views and impressions might have shifted in the intervening period. I propose to leave aside for the most part any historical inaccuracies which I noticed.

From my late 2015 standpoint, I might describe the feel of "Rush" as being slightly "forced", a little airless and compressed. It is visually impressive, but lacking a touch of elegance, guile and finesse, notwithstanding the inclusion of a few powerful and insightful scenes.

It has been suggested that the movie's comparatively modest budget, and associated time constraints, might have contributed to its flavour and to some of its flaws. My thoughts on this are ambivalent - in places the film has a very "professional" look, but elsewhere one can see where corners might have been cut. For my own tastes "Rush" is a touch too "digital" and post-modern, lacking the charm and fluency of some earlier racing films.

Part of my assertion that the film is "forced" is based on something which I observed when I first saw it almost two years ago. The makers appear to have had a "checklist" of anecdotes and stories (some apocryphal) which they felt they had to pack in during the early portions of the picture. My sensitivity to this phenomenon may be traceable to my status as a 70s-F1-anorak. I appreciate that this would not occur as much to more casusl viewers.

The performances of the main actors attracted much comment. Daniel Bruhl rightly received much praise for his portrayal of Niki Lauda. Quite apart from the physical resemblance, he also managed to capture many of the Austrian driver's traits and mannerisms.

Chris Hemsworth as James Hunt was less universally acclaimed, and it is true that he does not quite evoke the nuances of James' inimitable persona, or the voice. The comparison between the two actors is invidious, though. It may well be more difficult to convincingly play Hunt than it is with Lauda.

I think that "Rush" really gets on track during the scenes relating to the close season of 1975/76, when we are shown Hunt's struggles to get a drive for the forthcoming season, as well as his personal problems. Cliches aplenty, of course, but some very fine moments too. In these sequences Hemsworth is very good.  The movie improves at this point because it becomes less about "back-story", composites of events and time-compression and more about a straight account. The dramatic raw-material is also better....

The Nurburgring sequences I think were well produced, without being excessively long or sensationalist, and the hospital scenes were handled more delicately than one has come to expect in films of this sub-genre or in "biopics".

The dialogue between Niki and James at Monza is convincing and credible, and the press conference where Lauda speaks is actually better than similar scenes in most movies. However, the bit where the journalist is beaten up has rightly been deplored as over-the-top and misrepresentative. A real fly in the ointment, that one. On the plus side, the imagery used at the start of the Monza race is highly effective in conveying the tension and the apprehension.

As for the racing action scenes in "Rush", well on reflection they are a mixed bag. Some are good, and CGI is used to fine effect, but others are less dazzling. One wonders why this was.  The "arty" close ups of crash helmets, suspension parts and so forth are entertaining, and a feast for the senses, but hardly original.

The build-up to the final 1976 race at Fuji is also well done, with a "less is more" ethos concerning dialogue. Visuals, sound and music all help to create the mood and the tension before and during the event.

The final scene at the airport is noteworthy both for its quality and its plausibility. It also comes as quite a surprise to have something this reflective and pensive after what had preceded it. Philosophizing, yes, but in a believable and poignant vein.

Looking at it honestly, "Rush" is a good and entertaining, if unexceptional, piece of cinema, its main strengths being Bruhl's performance, the inherent attractiveness of the subject matter and the occasional amusing or poignant scene.

The Likely Lads (1976) - movie review

In the 1970s and early 1980s there were lots of cinematic spin-offs from British television sitcoms, and the artistic quality of these projects was variable to say the least. One of the better of these spin-offs was "The Likely Lads" from 1976, starring Rodney Bewes as Bob Ferris and James Bolam as Terry Collier.

The original "Likely Lads" TV series from the 1960s followed the fortunes of Bob and Terry as young men, and the follow-up "Whatever Happened To The Likely Lads" picked up the story when they had reached the brink of their thirties, at the time of Terry's return from a stint in the Army.

This film appears to be set a couple of years after the end of the timescale of "Whatever Happened To The Likely Lads", with Bob going through some kind of emotional, existential crisis. Indeed, the central themes of the movie are "there must be more to life than this" and "where has the past gone?", universally understood sentiments which engage the viewer. Times change, but our own routine becomes and remains tedious, and we ask whether the grass is greener elsewhere.

Even more so than the second television series, this film screams "Seventies!", from the fashions, to the backdrops, to the cultural references and the social mores. Added to this are Bob's Vauxhall Chevette, the boutique and the predilection for caravanning!

As ever, the writing of Dick Clement and Ian La Frenais drives proceedings charmingly. The storyline is a good, solid one, with a nicely conceived ending which inverts the conclusion of the original 60s series. The writers specialized in extracting great comedy from mundane, everyday things, and the eccentricities of the tenets of English life. The script of this film, to me, celebrates nostalgia whilst at the same time hinting that there is no easy escape from the pressures of the present. The grass is not necessarily greener, and we sometimes envy the lifestyles of our peers whilst overlooking the pitfalls of those lifestyles and the virtues of our own hard-won stability and security...

One thing which does not feature that prominently in this movie is the tension between Bob and Terry's relative social aspirations, an angle which dominated parts of the 1970s TV series. The emphasis here is on more elusive emotional and spiritual concerns. That said, the characterizations are still endearing and natural.

Rodney Bewes does a fine job in this film of portraying the angst-ridden and preoccupied Bob. The character has moved on from the "upwardly mobile" persona which he exuded during the second TV show. His life has reached a disconcerting and bewildering plateau.

The settings are different from "Whatever Happened To...", but I see this as a strength, as it helps to endow the movie with an identity of its own. The pleasant location shots of the North East England countryside and coastline also contribute to an overall visual appeal, and the "Whitley Bay" sequences are truly evocative!

There are some fine individual scenes, most notably the first one in the boutique, which kick-starts the central portion of the movie. As ever, the most effective comedic exchanges between Bob and Terry are tinged with poignancy and sadness, such as the conversation on the ship near the end.

To my present-day self, the overall effect of this picture is to induce sorrow and regret at a period gone forever, when life was simpler, or so we like to believe. It was released during my childhood, and the imagery brings back fond memories. This kind of nostalgia leavens the sterility and uncertainty of the present.

Opinion of this film among critics has been mixed, but I really like it. It has charm as a period piece, quite apart from the richness of the writing, the humour and the acting. Fine entertainment, and rather heart-warming...

Rocky (1976)

Having recently watched Raging Bull, I moved on to another famous boxing-themed movie of that time, Rocky, released in 1976 and starring Sylvester Stallone. It may not be considered as "cerebral" as Martin Scorsese's 1980 epic, but it is still an uplifting and highly entertaining film.

The scenes which accompany the opening titles, and those which follow, introduce us to Rocky Balboa's environs and surroundings, and indeed the gritty Philadelphia settings are central to the film's appeal. Early on, we are also given a sound grasp of Rocky's essential goodness and humanity, which does not always sit well with those with whom he comes into contact.

The one sentiment which strikes me whilst watching this picture is that it is not long enough, as there is insufficient time to fully explore both Rocky's burgeoning relationship with Adrian (Talia Shire) and his preparations for the fight with Apollo Creed. Both of these elements of the story feel ever so slightly rushed and compressed.

Of course, the character of Mickey, so wonderfully played by Burgess Meredith, adds the necessary tension and dynamism to the movie, by way of his irascible nature and his sometimes fractious relationship with Rocky. Burt Young as Paulie is another important building-block which elevates Rocky above the ordinary.

It is impossible to dislike the Rocky character, as he is so honest, uncomplicated and endearing. The scenes with Adrian are quite sweet, if initially awkward, and the "romantic" angle is a clever plot device, helping to further illustrate the human and compassionate side of this tough and rugged guy. There are nuances and eccentricities to Rocky which make him quite intriguing, such as the keeping of pet turtles.

Of course, one of the most talked-about scenes in this movie is the one where Rocky runs up the steps in the centre of town and raises his arms in triumph.  It does indeed stir the blood. However, the earlier scene focusing on an early morning training run is equally evocative for me.

The cynics will say that much of this picture is corny and that the plot is far-fetched, especially the notion of an obscure fighter suddenly being granted a world title opportunity, but I think that this film touched people because it went against the grain of much of Seventies cinema in its heart-warming and optimistic tone and outlook.

I had forgotten that Joe Frazier makes a cameo appearance, resplendent in a wonderful turquoise suit! The Balboa-Creed fight scenes start a little shakily, but then improve markedly.  I suppose that the moral of the outcome is that it didn't matter too much who won the bout, but attaining one's personal goals is more important, in this instance "going the distance"...

I wouldn't describe Rocky as a masterpiece, but those who watch it will likely feel better about themselves and their lives.

Achilles Last Stand - Led Zeppelin

It is the conventional "wisdom" that "Stairway To Heaven" is Led Zeppelin's finest musical achievement, and their most meaningful and enduring legacy to the world. However, this is only the populist view, and I subscribe to the body of opinion that the accolade should really belong to "Achilles Last Stand".

Released in 1976, as one of the tracks contained on the "Presence" album, the song is notable for several reasons. Not only is it Zeppelin's last truly great piece of music, but it also in some ways represents the closing of an era in "classic rock", one of the last hurrahs before the supposed "watershed" of punk which, we are told, changed music forever.

Apart from its minor cultural and historical significance, "Achilles Last Stand" is memorable on so many other levels. The lyrics were at least partly inspired by the travels and experiences of Robert Plant and Jimmy Page. This and other elements and themes are woven into an epic and sweeping tale.

The various musical ingredients of the song are captivating independently, but they coalesce to bring about an invigorating whole. John Bonham's drumming appears in places to defy the laws of physics, helping to propel the backing track as well as inserting numerous unusual fills.

Jimmy Page's guitar work here is some of his most distinctive and incisive on any Led Zeppelin record. From the intro/outro, to his contribution to the basic riff, to the various solo sections. There is abundant spontaneity and technical prowess. Page would have been justifiably satisfied with the finished result, in view of the work which must have gone into the production.

The chugging bass-line performed by John Paul Jones has probably been quite influential, and often imitated. It is a crucial, integral part of the framework which makes the whole thing work, but it is equally understandable how even such an affecting bass part can be overshadowed by the drumming and the guitar parts.

Robert Plant's vocals both evoke the epic quality of the lyrics as well as acting as an additional instrument in themselves, in augmenting the textures created by the pyrotechnics of the other three musicians.

This track, and the album which it came from, were recorded at a transitional time for the band. Not long after it was released, changes were afoot in the wider musical landscape. In my mind, the "Presence" album is a little patchy and inconsistent in its overall quality, but "Achilles Last Stand" is a wonderful endorsement of the theory that "form is temporary, but class is permanent". Talent, imagination and diligence, when operating in unison, could still produce that intangible magic. For a band which many at the time asserted was in decline, or artistically stagnant, it has prodigious energy and self-confidence.

I have said that the song signifies the end of an era, as one of the last "epic" rock tracks to appear before the advent of the British punk movement.  In a sense, though, it also anticipates the musical direction in which Led Zeppelin might have gone, had they had the chance. Little did they know that more difficulties were on the horizon, and that their career would be tragically curtailed.

Led Zeppelin - The Song Remains The Same - movie review

Led Zeppelin's "concert movie", The Song Remains The Same, has not met with wholehearted approval over the years, often being labelled either lacklustre or self-indulgent, or both. Having not watched the film for quite some time, I recently gave it another viewing, and thought that I would commit my impressions to blog form.

Although the concert footage was recorded in 1973, at Madison Square Garden in New York, the finished product was not released until 1976. The musical content is interspersed and overlaid with behind-the-scenes documentary clips as well as "fantasy" sequences and other assorted visuals.

The first thing to say is that the concert sequences are visually excellent, easy on the eye and technically well executed. The stage lighting is beautifully captured too, in the form of various reds, oranges and greens, giving the images an agreeable warmth and luxury, particularly in the close-up shots. The relatively small size of Zeppelin's stage set also gives the performance an intimacy and a compactness often absent from films set in large venues.

In some quarters I have seen the musical content of The Song Remains The Same uniformly dismissed. I think that this is slightly unjust. To me the quality of the performance is uneven more than anything else. It is true that the band was possibly at its peak as a live act in 1972, a year before this footage was shot, but there is still much to admire here. Even inconsistent and marginally below-par Zeppelin is well worth watching and/or listening to...

The version of "No Quarter" here is perhaps the stand-out piece in the movie. It is more aggressive than the studio version, with a great Jimmy Page guitar solo. Some memorable visuals are super-imposed on the music, including owls and sinister men on horseback. All "very Seventies", but quite effective and diverting, the cliches notwithstanding.

The longer, more "prog"-orientated tracks, especially those from the "Houses of the Holy" album, lend themselves more readily to outlandish visuals and story-telling, possessing a more "cinematic" quality. "The Song Remains The Same" (the song) is another example of this trend, as is "The Rain Song". This portion of the concert set is well suited to the "Arthurian" imagery which accompanies much of it. Actually, watching some of the "videos" produced for the film makes me wonder why Led Zeppelin did not explore these avenues more thoroughly in subsequent years.

The non-musical portions of the film are very much "of their time", but to my eyes they also have a period charm which is rather endearing. The sight of John Bonham driving a tractor is one of the highlights of the whole thing!  The backstage and documentary-style clips very much convey the extravagance, excess and egotism of Seventies rock, which may go some way towards explaining why some "critics" have traditionally found fault with this film.

The sound is pretty good, although some may contend that John Bonham's inimitable drumming is not captured as prominently as it might be. The separation allows the immaculate bass-playing of John Paul Jones to be properly appreciated, and Jimmy Page's Gibson Les Paul and double-neck guitars sound terrific throughout, organic and earthy, sometimes ethereal.  Admittedly,  Robert Plant was perhaps not on peak form vocally here. Was this the period when he was beginning to experience some voice problems?

Some of the performances towards the conclusion of the movie are very strong. "Dazed And Confused" is loose but incisive.  "Stairway to Heaven" is interpreted in an understated but affecting way, with an excellent solo by Page. "Whole Lotta Love" is performed in its familiar format, with more improvisation and ad-libbing in the middle section, although not as much an extended "medley" as on other live renditions.

In spite of this film's reputation and its flaws, I find it quite entertaining and slickly put together, especially when taking into account the various difficulties which were encountered in its production. It is a pretty evocative document of its era.

Taxi Driver - movie review

Taxi Driver, the 1976 film directed by Martin Scorsese, and starring Robert De Niro, is not a movie to be watched for light relief, but it is immensely powerful and absorbing. It is one of the pictures which made the 1970s such a golden period for cinema. Indeed, some might argue that Taxi Driver is the quintessential Seventies movie, because it touches on so many of the themes which were central to the time - political cynicism, the fallout from the Vietnam War, urban decay, social disintegration and general ennui and stagnation.

I watched Taxi Driver again just recently, and it had lost none of its impact. Of course, the centrepiece of the work is the character of Travis Bickle, so magnificently played by Robert De Niro. Quite apart from the acting performances, the cinematography and other aspects, one of the major strengths of the project for me is the multi-faceted plot, which has a nicely ambiguous feel to it. Throughout the piece I found myself asking "what are Travis Bickle's real motives and aspirations here?"  The movie therefore is imbued with real substance and depth, and actually encourages, even forces, the viewer to think constantly.

To summarize, Bickle is a Vietnam vet who take a job as a New York taxi driver, choosing consciously to work the night-shift. He is repelled by the corrupt and sordid activities which he witnesses, and begins to nurture visions of "cleaning up" the city. The movie documents his voyage into some dark places. The "diary" format of the narrative is a clever device, and it helps to strengthen the impression of a man going through a process of change, soul-searching and torment.

I had forgotten just how vivid and evocative the night-time sequences in Taxi Driver really are, capturing the sleaze, grime and insidiousness of the the world which Bickle inhabits, all bright lights, menace, vice and shadowy figures. The opening title sequence sets things up perfectly in this respect, as does the wonderful music by Bernard Herrmann, which is a feature of the entire movie..

The most unsettling thoughts which occurred to me whilst watching Taxi Driver recently concerned the main character's state of mind and motivations. Was Travis Bickle seeking to give his life some focus and meaning?  We are also left wondering whether Bickle's deeper motivations are selfless or self-serving .Perhaps there are both positive and negative consequences of alienation.  The character was not stereotypical or straightforward, even though popular perception has tended to see it that way.

The ending, it seems, has attracted much comment down the years. It does have some characteristics which one would associate with the average "dream sequence", for example the images of Betsy (Cybill Shepherd) and the delivery of parts of the dialogue.  It seems that it was not intended as a dream sequence, but it has the effect of keeping people guessing. Despite everything, has Travis been purged of his demons?

Whichever way we choose to interpret Taxi Driver, it comes nearer to meriting the word "masterpiece" than most cinematic works.

Desire - Bob Dylan - album review

Conventional wisdom has it that "Desire" was Bob Dylan's last record before his career entered another creative dip, lasting the best part of two decades. This may indeed be true, but the album merits examination, as one of the most enigmatic and intriguing of the great man's career.

One difficulty which some new listeners may encounter with "Desire" is that of "accessibility". The record is cloaked in an intangible shroud of mystery and vague nebulousness.  It is only when one sees through this cloud that the confidence and substance of the record can be fully savoured.

It is a more eclectic and varied album, lyrically at least, than "Blood On The Tracks", with the songs addressing a range of topics, from social injustice and relationships to travel and spirituality. Amid the diversity, some cohesion is supplied by the violin and the vocals of Emmylou Harris. These elements lend a pleasingly melodic and exotic texture to proceedings. It is surprising to note how little guitar work features here.

The mournful and reflective nature of some of the compositions, and the outward impression of sonic ennui and melancholy, are deceptive. I detect a real freedom about the work here, of a singer-songwriter warming to his task, bolstered by the presence of new collaborators and a sense of liberation from any straitjackets. The songs are perhaps less immediately engaging emotionally, but the subject matter is challenging, provocative and fresh. The songwriting tie-up with Jacques Levy doubtless contributed to the impetus and creative vigour. In places even Dylan's singing exhibits a certain exuberance.

"Hurricane" is the imposing and relentless opener, one of the most notable protest songs ever recorded. Unlike many protest numbers, this one stands up musically in its own right, and the melody and backing also ideally complement the message. If anyone doubted Dylan's capacity to still turn out music of power and relevance in the mid-1970s, this was their answer. Still as potent and resonant almost four decades later.

Serving as the other "bookend" of "Desire" is "Sara", one of  Dylan's most nakedly personal and candid songs, harking back to "Blood On The Tracks" in some ways. The presence at either end of the album of emphatic social commentary and frank confession is proof that all the bases of singer-songwriterdom were comfortably mastered, although Dylan stood, consciously or otherwise, outside any particular movement or "scene" by 1976.

Of the songs in between, "Isis" is to me the most affecting, combining lyrically the flavour of Dylan's mid-60s work with his less cryptic and oblique later style.

If there is a theme to this album, one could argue that it is preoccupied with drifters, outlaws and outcasts, if one also notes the presence of such songs as "One More Cup Of Coffee", "Joey" and "Romance In Durango". Whether this direction was itself a commentary on the times, or on anyone's state of mind, is open to question.

On first listen, "Desire" can seem like some of the jaded and listless American singer-songwriter fare being released circa 1976. However, it has much more vibrancy, focus and depth than that, and stands as possibly Dylan's last truly important record.

The Last Waltz

Whenever the subject of "greatest concert movie" or "best rock movie" comes up for discussion, it has become almost obligatory for Martin Scorsese's "The Last Waltz", a document of The Band's 1976 "farewell" performance, to be placed at the top, or the near the top, of the list.

The film is made up of The Band's performances of their own songs, and a series of guest appearances onstage by many of the musical luminaries of the time.  All this is interspersed with interviews, conducted by Scorsese himself, with the members of the Band, in which they provide recollections of their years on the road.

Although I feel that some of the praise lavished on "The Last Waltz" has been a touch excessive, it is still an affecting and rather poignant picture, being seen by many as signifying, or symbolizing, the close of the "classic rock" era.

The first song in the movie, "Don't Do It", was actually done as an encore, but it was an astute choice as the film's opener, as it helps to illustrate what The Band was all about, and where they came from. It is probably fair to say that The Band had passed their peak as a live act at that point, but they definitely rose to the occasion here.

As with The Band, some of the guest artists had also seen better days creatively, but Scorsese's affinity for music, and his abilities as a film-maker, enable him to capture much of the essence of the 1970s rock scene. Many of those artists had some connection with The Band, having influenced them, collaborated with them, or just been friends. They encompassed every genre and sub-genre which made up The Band's appetising musical stew - rock n roll, blues, country, gospel, soul, folk, even Tin Pan Alley.

The interview segments are highly entertaining, with many colourful anecdotes from the group's varied career. The "between song" banter is often loosely connected with the guest artist whose performance immediately follows. This helps to ensure that "The Last Waltz" is not just a routine run through a series of songs. It is also educational, informative and evocative of a lost time.

It is interesting to note that many of the most memorable performances in "The Last Waltz" come from the supposedly less "exalted" guest stars. Ronnie Hawkins and Dr John both exude charisma, but in an endearingly old-fashioned, unpretentious manner, in contrast to some of the precious mainstream rock stars.

The let-down for me is the Neil Young segment. I have always felt that "Helpless" is quite a mediocre, listless and irritating song, and it seems a poor choice in this particular context. especially when he had plenty of great, more exciting and dynamic songs to choose from.

On the other hand, Van Morrison is quite mesmeric, resplendent in purple, giving an exuberant and animated performance of the wonderful "Caravan".  There was a musical empathy between The Band and Van, and this may have been the secret to the magic here.

It is noticeable how much The Band enjoyed and relished playing other people's songs, and performing alongside musicians who they respected or revered, and these sentiments appear to have been heartily reciprocated. The blues-orientated acts (Muddy Waters, Paul Butterfield, Eric Clapton) also worked very well in this environment, again perhaps hinting at a special rapport with The Band and their ethos, which stressed feel and soul over virtuosity. 

When reviewing the Band's "solo" performances here, the powerful and heartfelt rendering of "The Night They Drove Old Dixie Down" is the highlight - a song which seemed more effective onstage than on record.  It is also interesting to note the pre-eminence of Levon Helm in the vocal department throughout, arguably reflecting the power-shift within the group as the 1970s progressed.

The beautiful lighting and camerawork assist in engendering a particular atmosphere in this movie, to the extent that the setting sometimes feels less "rock and roll" than retro Hollywood. A couple of numbers (featuring the Staple Singers and Emmylou Harris) were recorded separately in a "studio" setting.

With repeated viewing and analysis, the musical performances in "The Last Waltz" become slightly less dazzling, but as a snapshot of an era in music, and of the fondness with which a magical group was regarded by its peers, this is great viewing.

Franz Klammer, Innsbruck, 1976

As the 2014 Winter Olympics open, my thoughts go back to memories of previous Games. One feat and one performance springs to mind, above all others;Franz Klammer's gold medal run in the men's downhill race at Innsbruck in 1976.

That race stands out for me for several reasons. Firstly, 1976 is the first Winter Olympics which I can remember. I have no recollection whatsoever of Sapporo in 1972 (I was only two years old at the time). Secondly, this run, lasting less than two minutes, not only transcended skiing, it also transcended sport itself, and is probably the one ski race that even non-skiing fans would be able to recognize or recall. It was not just that he won that was significant, but the manner of his victory.

The stage was set perfectly. Klammer was drawn as the last of the top seeds in the running order, starting fifteenth, and was confronted by a formidable benchmark set by the defending champion, Bernard Russi of Switzerland. He was also the favourite for the gold medal, and was competing in front of his adoring but demanding home Austrian crowd - a double edged sword.

What transpired was one of the most audacious and spine-tingling sporting spectacles ever witnessed. Klammer seemed to throw caution to the wind, knowing that he had to take risks to overhaul Russi's time. There were several moments when he looked destined to stumble or fall, but through a combination of skill, confidence, raw courage, and even a modicum of good fortune, he stayed on the course, and won the gold medal by 0.33 seconds.

Individual sports such as downhill skiing differ subtly from other pursuits because of the contest between athlete, himself and the elements. On this occasion, Klammer conquered both himself and the elements, achieving the pinnacle of his career, as well as giving us a supreme example of sporting theatre. I understand that in Austria, that Klammer tour-de-force is still regarded as a milestone in the country's popular-cultural history. The nation literally came to a standstill for those moments.

In retrospect, I also think that Klammer's gold-medal heroics are important in another context. Even in 1976, hard-nosed professionalism and commercialism were beginning to encroach on even "amateur" sports. That run perhaps represents one of the last hurrahs for a more dashing, cavalier and unorthodox ethos.

Those people who cling religiously to their own favourite sports and narrow partisan allegiances for inspiration should check out a video of Klammer's run. Their eyes will hopefully be opened.

Rush (2013 movie) - DVD review

First of all, a confession. I did not see Ron Howard's  "Rush" when it was released in the cinemas. I fully intended to, but my September diary ended up being rather preoccupied with more pressing concerns. The movie's DVD release enabled me to catch up, and to commit these thoughts in blog form...

As a confirmed devotee of 1970s Formula 1, and something of an anorak on the subject, I resolved to put aside my reservations about the historical accuracy of the movie, and appraise it on its quality in artistic and technical terms. So within these parameters, what of "Rush"?

In short, the movie follows the fortunes of 1970s Grand Prix drivers James Hunt and Niki Lauda, concentrating on their duel for the 1976 world title. What struck me about the film straight away was the almost semi-documentary flavour to it. The opening scene, set at the Nurburgring, serves as good exposition. This is accompanied by some rather hackneyed pseudo-philosophizing, of the type which has been obligatory in all racing movies since time immemorial.

As expected, the production values are high, although the computer-assisted trickery does not obscure the story-telling. Indeed, the racing scenes, although dramatic and at times striking, were almost incidental to me. I was much more interested in the exploration of the human dimensions of the tale, which after the shaky beginning are told in quite a refreshing and unpretentious way.

Clips and previews had conditioned my expectations regarding the performances of the main actors. Daniel Bruhl is indeed excellent as Lauda, and becomes more convincing as the story unfolds, really coming into his own after the Nurburgring 1976 accident.  Lauda's allegedly prickly and abrasive nature is played up for all it is worth, as is the playboy, non-conformist image of Hunt. Chris Hemsworth's performance as the latter came as a pleasant surprise, and he also manages to capture some of James' more laconic side.

The supposed eccentricities and foibles of every character, including team personnel, are magnified and accentuated, and it seems that the producers felt the need to pack in every known and recorded anecdote and incident involving the two men. Whilst watching, I almost felt the silent presence of a researcher ticking boxes on a "checklist" of items to include in the script. So yes, the "chapters" and content are composites of various things which did occur, many in different contexts and timescales, compressed for dramatic effect. What this all shows is that regardless of how things are presented, Hunt and Lauda, and indeed the era which they lived in, are simply splendid "raw material" for film-makers.

The Hunt-Lauda relationship depicted here is at variance with the generally accepted version, but as the narrative moves on, the dialogue becomes more incisive and cerebral, and feels less forced. The scenes sometimes feel short and staccato, but this is often the case with "biopics", where lots of information has to be included in different settings within a specified time.

The film manages to capture an appealing 1970s European/transatlantic aesthetic, invoking the music, fashions and social trends of the time, but not to excess. The more informal, less regimented atmosphere is well projected, even if the recreations of haircuts and clothes are not always totally on the mark....

I found the action sequences a mixed bag.  Exciting yes, but often looking a little contrived and clinical, even if a 1970s Grand Prix is always a fine sight to behold. The greatest impact is attained via the arty "in helmet" shots and those of suspension parts, tyres and steering wheels. They help to get across the sheer primal mechanical vigour of those cars.

"Rush" moves up a notch or two with the run-up to the 1976 season. The pace quickens, and things become more intense.  This really kicks in with the demise of the Hesketh team, and Hunt's anguish and uncertainty before the McLaren drive becomes available. The 1976 race scenes make good use of the camerawork and effects, helping to capture and encapsulate the pressures and the claustrophobia, as well as the gladiatorial nature of the sport.

The centerpiece of the movie, unsurprisingly, is the '76 German Grand Prix and its aftermath. An ominous and dark atmosphere of foreboding is skilfully created.  The Lauda crash is harrowingly but effectively done, evoking its true horror. The hospital sequences are moving without being mawkish, and are cleverly interspersed with clips of the F1 season continuing to progress in the Austrian's absence.  Daniel Bruhl truly shines in this phase, ably portraying the character's bravery and single-mindedness. One somewhat jarring note is struck by the scene at Monza involving Hunt and an intrusive journalist.

Needless to day, the season finale at Fuji is given the full treatment. Although drenched with CGI, the drama, emotion and confusion are recorded with some clarity.

Overall, I think that "Rush", while being glossy and "Hollywood" up to a point, also brings out the then still grimy world  of racing, that of the nuts and bolts and the oily rags. On its own terms, good quality entertainment, if hardly a cinematic masterpiece. In the end, much of the rumination and verbal sparring between James and Niki is solid and soundly judged. The final main scene, set in Bologna, is a good way to go out - dignified and reflective.

In The Name Of Glory - Tom Rubython

Continuing my post-season reading efforts, I have recently completed another book which formed part of my Kindle "backlog".  This was In The Name Of Glory by Tom Rubython, a study of the momentous 1976 Formula 1 season, and more specifically the championship contest between James Hunt and Niki Lauda.

The author does have his detractors amongst racing enthusiasts, and it has to be said that the subtitle of this book (1976 - The Greatest Ever Sporting Duel) hardly inspired confidence.  However, I was prepared to give this one a chance........

The most noticeable thing at first glance was the brevity of this publication, certainly in comparison to the two other Rubython ones which I have previously read, The Life Of Senna and Shunt, the latter of which I blogged about here:-

Shunt - The Story of James Hunt

A couple of contentious assertions early on in the book rather set the tone for me, particularly the one concerning Lauda's supposed attitude to losing the championship in such circumstances.  What is said runs totally against the grain of the majority of perceived wisdom on the subject.  Also, it is stretching things to imply that the 1976 season was uniquely dramatic, exciting or eventful.

The book contains a few factual errors.  Lauda's debut in Austria in 1971 is not mentioned, and he did not win the 1974 Belgian Grand Prix. There was no Canadian Grand Prix in 1975, and Haiti is not in South America.  These things tend to grate after a while....

The thing which most perturbed me, though, was the tendency for hyperbole and exaggeration.  Personality clashes, or personality traits, of certain individuals are laboured excessively, presumably to heighten the sense of abundant frisson.Motor racing, like life in general, tends to be a subtle and complex endeavour, and therefore best seen in a million shades of grey.  However, here the author seems at pains to interpret things in extremes. Where the 1976 season is concerned, this is unnecessary, as the reality was in itself sufficiently remarkable...

To suggest at one point that Luca di Montezemolo was solely responsible for Ferrari's mid-1970s revival is also a novel interpretation of events.  I dare say that Messrs Lauda and Forghieri would have something to say about that.  This is an example of the author's "all or nothing" approach to some topics.

There is an appraisal also of the feverish politics which supposedly gripped the Ferrari camp around that time, especially when di Montezemolo became less involved in the Formula 1 effort.  Again, there may be a little embellishment, but one can gain a good idea of the backdrop to Lauda's campaign, and these passages should be of some value to those not previously familiar with the stories.

There is much prurient, if entertaining, focus on James Hunt's lifestyle.  Where the book did score some bonus points for me was in its efforts to detail Lauda's upbringing, and his early racing activities, including the way in which he raised finance, and incurred the wrath of some family members along the way.

Unsurprisingly, much of the Hunt-orientated material will be very familiar to those who have read Rubython's Hunt biography.

For all my reservations about the book, the raw facts of the story are enough to make this an entertaining read, if one takes some of the author's flights of fancy with a pinch of salt.