True Blue

Rowing is a lot harder and satisfactory than running, and not only because of the physics, but also because of the team building style that can pre-eminently make or break a winning team. 'True Blue' is not a 'Chariots of fire' with it's David Watkin (Catch-22) cinematography and Vangelis (Blade Runner) score, but as I like rowing a lot better than running, this was a good film for me, especially because I started rowing in 1996. The film is not only appealing for the English or Americans, but also for the Dutch. The reason for that might be the Dutch victory in the 1996 Olympic Boat Race (and remember: no points for second place). These 'Holland Acht' guys must have seen this film the day before.

Another good point of this movie is the absence of religious interference with the urge to perform, and the presence of struggle for influence between coaches and rowers. Apart from the infighting that's what is concerning rowers most. 'War is not about who's right, but about who's left (in the boat)'. 'True blue' is definitely more than a simple tv-movie for rowers. Credit to cinematographer Brian Tufano (Shallow Grave, Trainspotting, Quadrophenia, Lords of discipline).

Accordingly, I have to rate both movies 8/10

Taking it's lead from the true story of the 1986 Oxford-Cambridge boat race, 'True Blue' is an attempt to convert this seemingly inconsequential event into a meaningful experience. The film fails because the relevance is only apparent to those with an interest in the subject, or those directly involved. Sure, there's an all encompassing metaphor for our ability to overcome obstacles in our path, and fight against the odds, but for that you would be better off with 'Rocky', or 'Chariots Of Fire' (which this film shamelessly rips off on more than one occasion). I don't doubt that all those involved were deeply passionate about the real story here, the people who made the victory so convincingly their own, but the film flounders due to some erratic performances, and some banal dialogue - not to mention an incredible anti-American streak throughout. It's a peculiarly English film, like the boat race itself, that will appeal to those with a vested interest and no-one else.

I do not wish to contradict or to differ with any pundits on the cinematography of this movie and most certainly I have no wish to disagree with the views of fellow brothers of the blade.... yet there is an aesthetic side to this movie.

Rowing, especially highly competitive rowing steeped in tradition, is a concept that can be understood only by those who have actually tasted the bitter gourd of defeat in a race and savoured its hard won victories. That is the essential of this movie.

Indeed the mistakes are fallacious, and sometimes appalling pathetic, especially for those who know their blade work. However despite the blatant technical errors so obvious to a trained eye, as a story that inspires, this fills a much needed void.

As a coxswain, its slightly different to the ones portrayed in the movie. Contrary to popular belief, in some parts of the world where there are traditional races like the Ox-Bridge where old rivals train eleven months of the year for just a single course down, we're not just dead weights in the boat. We actually have to do all the fitness that guys a foot taller and twice our weight have to do, only on one meal a day for weight reasons. Basically everything, ergo, weights, runs etc... except the water training. I found that the camaraderie that I shared with my crews, a thing all coxes will agree with me, was sadly missing in this movie. The 'coxing' in the final race was rather timid to say the least. Although I do confess, in the absence of something better this was a good phyche-up movie to watch before the races.

What I did like about the movie is what it showed. The politics and the desperation to win is universal in every crew. The characters, heroes, villains and bystander can be related to by any oarsman. The best and most profound scene in the whole film, is not on the water, but at the meeting of the boat halls and the priest's take on what rowing for an institution is. That summarises the ethos for many of us. "We are servants to put in, not masters to take out. We owe that to all those before us and those who will come after us." In a Boat Races, to be second is to be last. It is a nightmare from the fall of the flag to the final line. This film shows what an oarsman goes through. Not as brutal as the reality but it is a glimpse never the less. Lines that seem cool yet speak volumes for those who have 'been there' are: "We need good men....not just good oarsmen..." "No one put a reserve sign on your seat...." "You can hear the boat sing...." "....make them feel like they came third...." "It's what we do to win the boat race...." What it shows, what no other film can show is the harmony of a team, and the determination and self sacrifice to win.

For an oarsman who has faced the pain and the exhilaration of victory, this film will break a smile, not a cheer. Yet for the world that has not faced it, its a peek at an oarsman's world.

Remis Insurgite!!!

Tazio Ratnayeke

The real problem with this is that the full story--or whatever the book of "True Blue" purports to be--is already mind-bendingly complicated. There's no way this story was ever going to make it to film without being seriously mangled, and sadly, that's what happened. The script is plain awful, and the editing doesn't help.

Quite definitely the best film ever made about rowing (admittedly out of a poor field of competitors), 'True Blue' vividly conveys the striving for physical perfection and the stress of selection and training for the hardest rowing race in the word. The sheer bloody-mindedness, obstinacy and ambition needed to do well in such a sport spill over into the vicious personal relationships of this story, where the harsh sacrifices made mean that little quarter is given to those with whom you disagree and rival strongly opinionated tribes grow up, all with some right on their side. The bleak mood of the film is set straightaway with the picture of a lonely sculler training on a remote, snow-swept wind-blown loch. The film is visually poetic, using the real and truly beautiful venues used for the training in a matchless mix of colours and varying weather. Fairfax uses a good script, which nonetheless could have done with one more re-write to clarify the large cast of characters involved. The spectator comes away wondering also if some of the film's faults may not be due to back-pedaling over the real details of story to avoid legal action, which led to the changes of name of all but the two main characters. The soaring triumph of the spirit shown the final race in savage racing conditions is well worth waiting for, ably urged on by the sound track music. Some good cameo parts add to the overall pleasure of this film.