Two British track athletes, one a determined Jew and the other a devout Christian, compete in the 1924 Olympics.
Hugh Hudson’s movie will represent an era of stultifying middlebrow inoffensiveness that’s as much a historical relic as the medals it lionises.
Enhanced considerably by Vangelis’s stirring score - has a film ever owed so much to its music? - the picture also works as a poignant paen to youthful hopes and the passing of time.
A rippingly good yarn, and now looking and sounding (Vangelis's score) better than ever.
A bold, intelligent, romantic film with all the lineaments of a classic, and a score by Vangelis as instantly hummable as the music for Jaws.
Chariots of Fire was a false dawn. The Brits weren't coming, they were just passing. But it was fun while it lasted.
Still stirring stuff.
An odd, malformed antique that still manages to retain a certain surface-level charm.
Even after 31 years, Chariots of Fire doesn’t simply impress; it inspires.
How we made: Hugh Hudson and Nicholas Farrell on Chariots of Fire
Going the extra mile: The re-release of Chariots of Fire
Chariots of Fire re-release in time for London 2012 Olympics
Still running the race
'Chariots of Fire' lets Brits relive Olympic ideal
General release. Check local listings for show times.
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