Enjoyable if slight bio of Bert Trautmann, a German POW on English soil who, against all odds, became a legendary sporting hero in England itself.
David Kross (The Reader, War Horse) is the lead as, with the help of local grocer Jack Friar (John Henshaw – Stan & Ollie, The Angels’ Share) and his daughter, Margaret (Freya Mavor – The Sense of an Ending, Sunshine on Leith), Trautmann gets time off from the post-war internment camp and becomes the goalkeeper for the local St Helens football club. Scouts soon arrive and, just three years after the end of the war, Trautmann is controversially signed by Manchester City.
It takes time to win the fans over – and Trautmann faced a great deal of abuse from opposing fans when travelling to other cities – but the famed 1956 Wembley FA Cup Final with Manchester City playing Birmingham City ensured that the German ‘keeper entered the annals of footballing history.
No risks are taken by director Marcus H Rossenmueller (Grave Decisions, The Colour of Mother-of-Pearl) in telling this straightforward story of a man who overcame public hostility to become a local hero (with more than a little help from his wife, Margaret).
A sensitive adaptation of Tim Winton’s prize-wining novel, debut feature director Simon Baker (The Devil Wears Prada, TV’s The Mentalist) captures beautifully the complexities of coming-of-age.
Quiet, twelve year-old Pikelet (newcomer Samson Coulter) and his best mate, the thrill-seeking Loonie (a superb debut from Ben Spence), discover the joys of surfing, mentored by one of the world’s best, Sando (Baker himself). But friendships become strained in the search for danger.
A poetic love story (of friendship, of family, of oneself, of the ocean itself), Breath is a stunningly shot step back into the 1970s. Winton is a writer of intrinsically Australian stories with universal resonance – Breath is honest, nostalgic and visually beautiful.
It may be overlong – and ‘the incident’ forms only a small part of the whole – but director Craig Gillespie (Lars & the Real Girl, The Finest Hours) highlights the eccentricities in the life story of US competitive ice-skater, Tonya Harding. Importantly, he choses to laugh more with the characters than at them.
From the wrong side of the tracks, Harding (a confident, Oscar-nominated Margot Robbie – The Suicide Squad, The Wolf of Wall Street) was abused by her mother (a magnificent out-of-character Alison Janney – Spy, The Girl on the Train) and husband (an almost unrecognisable Sebastian Stan, the Captain America trilogy). Yet she rose to number one in the world and represented the US at two winter Olympics. But Harding is best remembered for her involvement in the attack on fellow ice-skater, Nancy Kerrigan.
It’s a tragic story and this black comedy tells it well. How much Harding knew is left in the air as Gillespie explores the issues of class and the nature of truth in this entertaining sports movie.
The rivalry between the ice-cool Bjorn Borg and volatile John McEnroe dominated tennis headlines in the late 70s/early 80s. Not interested in anything but being the best, Borg retired from tennis at the age of just 26 when the American replaced him as world number one in 1981.
But not before, in 1980, Borg won his fifth consecutive Wimbledon title, beating McEnroe in five sets in what is regarded as the greatest final ever seen at the All-England club. Borg McEnroe is centred round the 1980 tournament as pressure mounts on Borg to make history.
Sverrir Gudnason (Blowfly Park, Original) is appropriately cool and emotionless as Borg – and his likeness to the Swede is uncanny. Wedding plans (to Romanian tennis player Mariana Simionescu) and Wimbledon preparations do not go hand-in-hand, adding to the pressure. An emerging McEnroe (a wonderful supporting role from Shia LeBeouf – Transformers, Lawless) has his own points to prove – to both his family and the tennis world in general.
Mixing flashbacks to both men’s childhoods (interestingly Borg was a wilful and volatile teenage tennis player) with current relationship issues both on and off the court, director Janus Metz (Armadillo, Fra Thailand til Thy) brings his documentary aesthetic to ultimately let the tennis and the final itself speak for the film. Overheads, close-ups, cropping add to the excitement, making up for a somewhat oversimplified and stodgy off-court narrative.
(It makes for an interesting accompaniment with the 60s-set Battles of the Sexes)