Chariots of Fire (1981)

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Run in God’s name and let the world stand back in wonder.  In the early 1920s, two determined young English runners train for the 1924 Paris Olympic Games. Eric Liddell (Ian Charleson) is a devout Christian born to Scottish missionaries in China, sees running as part of his worship of God’s glory and refuses to train or compete on the Sabbath. Cambridge student Harold Abrahams (Ben Cross) overcomes anti-Semitism and class bias, but neglects his beloved sweetheart Sybil (Alice Krige) in his single-minded quest and then there is the opportunity to prove themselves at Olympics where they will encounter the world’s fastest runners, a pair of Americans … Lauded at the time of release, and prompting screenwriter Colin Welland’s famous but empty threat, The British are coming! this now plays like a very staid exercise frozen in aspic despite the lively intellectual drive – reconciling notions of religion, duty, patriotism, obsession, love – and the wonderful cast. This mostly true story has its moments but they are heavily signposted. The title sequence on the beach of the athletes training in slow motion to Vangelis’ outstanding electronic score is justly famous and it’s repeated at the conclusion. In between are conflicts played out both on the track and off it and there’s a Greek chorus of sorts by John Gielgud and Lindsay Anderson (of all people!) whereby a streak of prejudice and elitism in the echelons of academia is revealed. The issue of race – both kinds – is repeated in Abrahams’ choice of coach, Sam Mussabini (Ian Holm) who is half Arab and brings the taint of professionalism into play. Produced by David Puttnam, executive produced by Dodi Fayed and directed (in his feature debut) by adman Hugh Hudson who does his best to dress up a low budget epic. The tragic coda to the film if not the story is that two of its stars, Charleson, and Brad Davis (who plays Jackson Scholz), died of AIDS within 18 months of each other a decade later.

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Cafe Society (2016)

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Bobby Dorfman (Jesse Eisenberg) arrives in Hollywood straight outta the Bronx  c.1935 to work with his movie agent uncle Phil (Steve Carell) and falls for his assistant Vonnie (Kristen Stewart). Everything looks beautiful, bathed in magic moment sunshine and swoony evening light and people talk about Irene Dunne and Willie Wyler but it turns out Vonnie is Phil’s mistress and he leaves his wife to marry her leaving Bobby brokenhearted and back in his beloved Bronx working front of house for his gangster brother Ben (Corey Stoll) in a glamorous nightclub. He marries divorcee Veronica (Blake Lively) whom he promptly rechristens Vonnie. She has a baby and her time is taken up caring for her. Then Phil and Vonnie visit while passing through NYC and a romance of sorts recommences but as Bobby realises, Vonnie (this Vonnie) is now his aunt … This is a film of two halves, which do not mesh.  The leads are in their third film together but Stewart is much too modern to play her role, Eisenberg is quite weird – that hunched-shouldered look doth not a schlub make – and the good performances are in supporting roles:  Jeannie Berlin and particularly Ken Stott as the Dorfman parents, Stoll, who is literally criminally underused and Stephen Kunken as the brother in law who inadvertently causes Bobby’s sister Evelyn to have Ben murder their neighbour. Despite the episodes of violence, the talk about what is reality and what is cinema, and the central idea about marriage and what people do to keep relationships going despite clear incompatibility – and there’s a strange (self-?) reference to a man with a teenaged mistress… – this just doesn’t work. The faraway looks in the leads’ eyes at the unsatisfying and inconclusive climax, a country apart, merely highlight the vacuum at the story’s centre. Minor Allen to be sure. It looks great though, so thank you Vittorio Storaro.

Midnight in Paris (2011)

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After years of something akin to exile in Europe making so-so movies (with the exception of Vicky Cristina Barcelona) Woody Allen made a genuinely terrific piece of cinema. The story of Gil the nostalgic screenwriter who gets inspiration from his midnight encounters with the great artists of the 20s who congregated in the City of Light & Love, is brimming with goodwill, sentiment, wisdom and … love. The scenes with Hemingway and Dali are particularly hilarious. Watch this over and over …