Chariots of Fire

Ian Charleson, who studied the Bible intensively for his role, wrote Eric Liddell's post-race inspirational speech to a working-class crowd.

Producer David Puttnam was looking for a story in the mould of A Man for All Seasons (1966), regarding someone who follows his conscience, and felt that sport provided clear situations in this sense.[8] He discovered Eric Liddell's story by accident in 1977, when he happened upon An Approved History of the Olympic Games, a reference book on the Olympics, while housebound from the flu, in a rented house in Malibu.[9][10][11][12]

Screenwriter Colin Welland, commissioned by Puttnam, did an enormous amount of research for his Academy Award-winning script. Among other things, he took out advertisements in London newspapers seeking memories of the 1924 Olympics, went to the National Film Archives for pictures and footage of the 1924 Olympics, and interviewed everyone involved who was still alive. Welland just missed Abrahams, who died on 14 January 1978, but he did attend Abrahams' February 1978 memorial service, which inspired the present-day framing device of the film.[13] Aubrey Montague's son saw Welland's newspaper ad and sent him copies of the letters his father had sent home – which gave Welland something to use as a narrative bridge in the film. Except for changes in the greetings of the letters from "Darling Mummy" to "Dear Mum" and the change from Oxford to Cambridge, all of the readings from Montague's letters are from the originals.[14]

Welland's original script also featured, in addition to Eric Liddell and Harold Abrahams, a third protagonist, 1924 Olympic gold medallist Douglas Lowe, who was presented as a privileged aristocratic athlete. However, Lowe refused to have anything to do with the film, and his character was written out and replaced by the fictional character of Lord Andrew Lindsay.[15]

Initial financing towards development costs was provided by Goldcrest Films, who then sold the project to Mohamed Al-Fayed's Allied Stars, but kept a percentage of the profits.[16]

Ian Charleson wrote Eric Liddell's speech to the post-race workingmen's crowd at the Scotland v. Ireland races. Charleson, who had studied the Bible intensively in preparation for the role, told director Hugh Hudson that he didn't feel the portentous and sanctimonious scripted speech was either authentic or inspiring. Hudson and Welland allowed him to write words he personally found inspirational instead.[17]

Puttnam chose Hugh Hudson, a multiple award-winning advertising and documentary filmmaker who had never helmed a feature film, to direct Chariots of Fire. Hudson and Puttnam had known each other since the 1960s when Puttnam was an advertising executive and Hudson was making films for ad agencies. In 1977, Hudson had also been second-unit director on the Puttnam-produced film Midnight Express.[18]

Director Hugh Hudson was determined to cast young, unknown actors in all the major roles of the film, and to back them up by using veterans like John Gielgud, Lindsay Anderson, and Ian Holm as their supporting cast. Hudson and producer David Puttnam did months of fruitless searching for the perfect actor to play Eric Liddell. They then saw Scottish stage actor Ian Charleson performing the role of Pierre in the Royal Shakespeare Company's production of Piaf, and knew immediately they had found their man. Unbeknownst to them, Charleson had heard about the film from his father, and desperately wanted to play the part, feeling it would "fit like a kid glove".[19]

Ben Cross, who plays Harold Abrahams, was discovered while playing Billy Flynn in Chicago. In addition to having a natural pugnaciousness, he had the desired ability to sing and play the piano.[14][20] Cross was thrilled to be cast, and said he was moved to tears by the film's script.[21]

20th Century Fox, which put up half of the production budget in exchange for distribution rights outside of North America,[22] insisted on having a couple of notable American names in the cast.[12] Thus the small parts of the two American champion runners, Jackson Scholz and Charley Paddock, were cast with recent headliners: Brad Davis had recently starred in Midnight Express (also produced by Puttnam), and Dennis Christopher had recently starred, as a young bicycle racer, in the popular indie film Breaking Away.[21]

All of the actors portraying runners underwent an intensive three-month training regimen with renowned running coach Tom McNab. This training and isolation of the actors also created a strong bond and sense of camaraderie among them.[21]

The beach running scene was filmed on West Sands, St Andrews, Scotland, adjacent to the Old Course.

The beach scenes showing the athletes running towards the Carlton Hotel at Broadstairs, Kent,[23] were shot in Scotland on West Sands, St Andrews next to the 18th hole of the Old Course at St Andrews Links. A plaque now commemorates the filming.[24][25] The impact of these scenes (as the athletes run in slow motion to Vangelis's music) prompted Broadstairs town council to commemorate them with a seafront plaque.[26]

All of the Cambridge scenes were actually filmed at Hugh Hudson's alma mater Eton College, because Cambridge refused filming rights, fearing depictions of anti-Semitism. The Cambridge administration greatly regretted the decision after the film's enormous success.[14]

Liverpool Town Hall was the setting for the scenes depicting the British Embassy in Paris.[14] The Colombes Olympic Stadium in Paris was represented by the Oval Sports Centre, Bebington, Merseyside.[27] The nearby Woodside ferry terminal was used to represent the embarkation scenes set in Dover.[27] The railway station scenes were filmed in York, using locomotives from the National Railway Museum.[14] The filming of the Scotland–France international athletic meeting took place at Goldenacre Sports Ground in Inverleith Row, Edinburgh, owned by George Heriot's School.[28] The scene depicting a performance of The Mikado was filmed in the Royal Court Theatre, Liverpool, with members of the D'Oyly Carte Opera Company who were on tour.[29]

The film was slightly altered for the U.S. audience. A brief scene depicting a pre-Olympics cricket game between Abrahams, Liddell, Montague, and the rest of the British track team appears shortly after the beginning of the original film. For the American audience, this brief scene was deleted. In the U.S., to avoid the initial G rating, which had been strongly associated with children's films and might have hindered box office sales, a different scene was used – one depicting Abrahams and Montague arriving at a Cambridge railway station and encountering two First World War veterans who use an obscenity – in order to be given a PG rating.[30] An off camera retort of "Win It For Israel" among exhortations of Abraham's fellow students before he takes on the challenge of The Great Court Run was curiously absent from the final cuts theatrically distributed in the U.S. but can be heard in versions broadcast on such cable outlets as TCM.

Ian Charleson (foreground) and Ben Cross (left) running in the "Chariots of Fire" music scene which bookends the film.

Although the film is a period piece, set in the 1920s, the Academy Award-winning original soundtrack composed by Vangelis uses a modern 1980s electronic sound, with a strong use of synthesizer and piano among other instruments. This was a departure from earlier period films, which employed sweeping orchestral instrumentals. The title theme of the film has been used in subsequent films and television shows during slow-motion segments.

Vangelis, a Greek-born electronic composer who moved to Paris in the late 1960s, had been living in London since 1974.[31] Director Hugh Hudson had collaborated with him on documentaries and commercials, and was also particularly impressed with his 1979 albums Opera Sauvage and China.[32] David Puttnam also greatly admired Vangelis's body of work, having originally selected his compositions for his previous film Midnight Express.[33] Hudson made the choice for Vangelis and for a modern score: "I knew we needed a piece which was anachronistic to the period to give it a feel of modernity. It was a risky idea but we went with it rather than have a period symphonic score."[18] The soundtrack had a personal significance to Vangelis: after composing the theme he told Puttnam, "My father is a runner, and this is an anthem to him."[13][31]

Hudson originally wanted Vangelis's 1977 tune "L'Enfant",[34] from his Opera Sauvage album, to be the title theme of the film, and the beach running sequence was actually filmed with "L'Enfant" playing on loudspeakers for the runners to pace to. Vangelis finally convinced Hudson he could create a new and better piece for the film's main theme – and when he played the "Chariots of Fire" theme for Hudson, it was agreed the new tune was unquestionably better.[35] The "L'Enfant" melody still made it into the film: when the athletes reach Paris and enter the stadium, a brass band marches through the field, and first plays a modified, acoustic performance of the piece.[36] Vangelis's electronic "L'Enfant" track eventually was used prominently in the 1982 film The Year of Living Dangerously.

Some pieces of Vangelis's music in the film did not end up on the film's soundtrack album. One of them is the background music to the race Eric Liddell runs in the Scottish highlands. This piece is a version of "Hymne", the original version of which appears on Vangelis's 1979 album, Opéra sauvage. Various versions are also included on Vangelis's compilation albums Themes, Portraits, and Odyssey: The Definitive Collection, though none of these include the version used in the film.

Five lively Gilbert and Sullivan tunes also appear in the soundtrack, and serve as jaunty period music which counterpoints Vangelis's modern electronic score. These are: "He is an Englishman" from H.M.S. Pinafore, "Three Little Maids from School Are We" from The Mikado, "With Catlike Tread" from The Pirates of Penzance, "The Soldiers of Our Queen" from Patience, and "There Lived a King" from The Gondoliers.

The film also incorporates a major traditional work: "Jerusalem", sung by a British choir at the 1978 funeral of Harold Abrahams. The words, written by William Blake in 1804–08, were set to music by Hubert Parry in 1916 as a celebration of England. This hymn has been described as "England's unofficial national anthem",[37] concludes the film and inspired its title.[38] A handful of other traditional anthems and hymns and period-appropriate instrumental ballroom-dance music round out the film's soundtrack.

The film depicts Abrahams as attending Gonville and Caius College, Cambridge, with three other Olympic athletes: Henry Stallard, Aubrey Montague, and Lord Andrew Lindsay. Abrahams and Stallard were, in fact, students there and competed in the 1924 Olympics. Montague also competed in the Olympics as depicted, but he attended Oxford, not Cambridge.[54] Aubrey Montague sent daily letters to his mother about his time at Oxford and the Olympics; these letters were the basis of Montague's narration in the film.

The character of Lindsay was based partially on Lord Burghley, a significant figure in the history of British athletics. Although Burghley did attend Cambridge, he was not a contemporary of Harold Abrahams, as Abrahams was an undergraduate from 1919 to 1923 and Burghley was at Cambridge from 1923 to 1927. One scene in the film depicts the Burghley-based "Lindsay" as practising hurdles on his estate with full champagne glasses placed on each hurdle – this was something the wealthy Burghley did, although he used matchboxes instead of champagne glasses.[13] The fictional character of Lindsay was created when Douglas Lowe, who was Britain's third athletics gold medallist in the 1924 Olympics, was not willing to be involved with the film.[55]

Abrahams (left) and the Burghley-based Lindsay (right) attempt the Great Court Run.

Another scene in the film recreates the Great Court Run, in which the runners attempt to run around the perimeter of the Great Court at Trinity College, Cambridge in the time it takes the clock to strike 12 at midday. The film shows Abrahams performing the feat for the first time in history. In fact, Abrahams never attempted this race, and at the time of filming the only person on record known to have succeeded was Lord Burghley, in 1927. In Chariots of Fire, Lindsay, who is based on Lord Burghley, runs the Great Court Run with Abrahams in order to spur him on, and crosses the finish line just a moment too late. Since the film's release, the Great Court Run has also been successfully run by Trinity undergraduate Sam Dobin, in October 2007.[56]

In the film, Eric Liddell is tripped up by a Frenchman in the 400-metre event of a Scotland–France international athletic meeting. He recovers, makes up a 20-metre deficit, and wins. This was based on fact; the actual race was the 440 yards at a Triangular Contest meet between Scotland, England, and Ireland at Stoke-on-Trent in England in July 1923. His achievement was remarkable as he had already won the 100- and 220-yard events that day.[57] Also unmentioned with regard to Liddell is that it was he who introduced Abrahams to Sam Mussabini.[58] This is alluded to: in the film, Abrahams first encounters Mussabini while he is watching Liddell race.

Abrahams and Liddell did race against each other twice, but not as depicted in the film, which shows Liddell winning the final of the 100 yards against a shattered Abrahams at the 1923 AAA Championship at Stamford Bridge. In fact, they raced only in a heat of the 220 yards, which Liddell won, five yards ahead of Abrahams, who did not progress to the final. In the 100 yards, Abrahams was eliminated in the heats and did not race against Liddell, who won the finals of both races the next day. They also raced against each other in the 200 m final at the 1924 Olympics, and this was also not shown in the film.[59]

Abrahams' fiancée is misidentified as Sybil Gordon, a soprano with the D'Oyly Carte Opera Company. In fact, in 1936, Abrahams married Sybil Evers, who also performed with D'Oyly Carte, but they did not meet until 1934.[60] Also, in the film, Sybil is depicted as singing the role of Yum-Yum in The Mikado, but neither Gordon nor Evers ever sang that role with D'Oyly Carte,[61][62] although Evers was known for her charm in singing Peep-Bo, one of the two other "little maids from school".[60] Harold Abrahams' love of and heavy involvement with Gilbert and Sullivan, as depicted in the film, is factual.[14]

Liddell's sister was several years younger than she was portrayed in the film. Her disapproval of Liddell's track career was creative licence; she actually fully supported his sporting work. Jenny Liddell Somerville cooperated fully with the making of the film and has a brief cameo in the Paris Church of Scotland during Liddell's sermon.[63]

At the memorial service for Harold Abrahams, which opens the film, Lord Lindsay mentions that he and Aubrey Montague are the only members of the 1924 Olympic team still alive. However, Montague died in 1948, 30 years before Abrahams' death.

In the film, the 100m bronze medallist is a character called "Tom Watson"; the real medallist was Arthur Porritt of New Zealand, who refused permission for his name to be used in the film, allegedly out of modesty, and his wish was accepted by the film's producers, even though his permission was not necessary.[64] However, the brief back-story given for Watson, who is called up to the New Zealand team from the University of Oxford, substantially matches Porritt's history. With the exception of Porritt, all the runners in the 100m final are identified correctly when they line up for inspection by the Prince of Wales.

Jackson Scholz is depicted as handing Liddell an inspirational Bible-quotation message before the 400 metres final: "It says in the Old Book, 'He that honors me, I will honor.' Good luck."[65] In reality, the note was from members of the British team, and was handed to Liddell before the race by his attending masseur at the team's Paris hotel.[66] For dramatic purposes, screenwriter Welland asked Scholz if he could be depicted handing the note, and Scholz readily agreed, saying "Yes, great, as long as it makes me look good."[14][67]

The events surrounding Liddell's refusal to race on a Sunday are fictional. In the film, he does not learn that the 100-metre heat is to be held on the Christian Sabbath until he is boarding the boat to Paris. In fact, the schedule was made public several months in advance; Liddell did however face immense pressure to run on that Sunday and to compete in the 100 metres, getting called before a grilling by the British Olympic Committee, the Prince of Wales, and other grandees,[14] and his refusal to run made headlines around the world.[68]

The decision to change races was, even so, made well before embarking to Paris, and Liddell spent the intervening months training for the 400 metres, an event in which he had previously excelled. It is true, nonetheless, that Liddell's success in the Olympic 400m was largely unexpected.

The film depicts Lindsay, having already won a medal in the 400-metre hurdles, giving up his place in the 400-metre race for Liddell. In fact Burghley, on whom Lindsay is loosely based, was eliminated in the heats of the 110 hurdles (he would go on to win a gold medal in the 400 hurdles at the 1928 Olympics), and was not entered for the 400 metres.

The film reverses the order of Abrahams' 100m and 200m races at the Olympics. In reality, after winning the 100 metres race, Abrahams ran the 200 metres but finished last, Jackson Scholz taking the gold medal. In the film, before his triumph in the 100m, Abrahams is shown losing the 200m and being scolded by Mussabini. And during the following scene in which Abrahams speaks with his friend Montague while receiving a massage from Mussabini, there is a French newspaper clipping showing Scholz and Charley Paddock with a headline which states that the 200 metres was a triumph for the United States. In the same conversation, Abrahams laments getting "beaten out of sight" in the 200. The film thus has Abrahams overcoming the disappointment of losing the 200 by going on to win the 100, a reversal of the real order.

Eric Liddell actually also ran in the 200m race, and finished third, behind Paddock and Scholz. This was the only time in reality that Liddell and Abrahams competed in the same finals race. While their meeting in the 1923 AAA Championship in the film was fictitious, Liddell's record win in that race did spur Abrahams to train even harder.[69]

Abrahams also won a silver medal as an opening runner for the 4 x 100 metres relay team, not shown in the film, and Aubrey Montague placed sixth in the steeplechase, as depicted.[54]

The Chariots of Fire stage adaptation: Stars Jack Lowden and James McArdle flank Vangelis, watching the Olympic Torch Relay set to the tune, from the Gielgud Theatre, July 2012.

A stage adaptation of Chariots of Fire was mounted in honour of the 2012 Olympics. The play, Chariots of Fire, which was adapted by playwright Mike Bartlett and included the Vangelis score, ran from 9 May to 16 June 2012 at London's Hampstead Theatre, and transferred to the Gielgud Theatre in the West End on 23 June, where it ran until 5 January 2013.[81] It starred Jack Lowden as Eric Liddell and James McArdle as Harold Abrahams, and Edward Hall directed. Stage designer Miriam Buether transformed each theatre into an Olympic stadium, and composer Jason Carr wrote additional music.[82][83][84] Vangelis also created several new pieces of music for the production.[85][86]

The stage version for the London Olympic year was the idea of the film's director, Hugh Hudson, who co-produced the play; he stated, "Issues of faith, of refusal to compromise, standing up for one's beliefs, achieving something for the sake of it, with passion, and not just for fame or financial gain, are even more vital today."[87]

Another play, Running for Glory, written by Philip Dart, based on the 1924 Olympics, and focusing on Abrahams and Liddell, toured parts of Britain from 25 February to 1 April 2012. It starred Nicholas Jacobs as Harold Abrahams, and Tom Micklem as Eric Liddell.[88][89]