I don't think there's any film genre less appealing to me than the sports film; that this is a biographical picture about a sports figure, well, I suppose that splits the difference. This isn't just a sports bio though, is it? It's a title that's primarily about premier runner Steve Prefontaine, a name that by the time I was growing up was only a name known to other runners. At the same time that 'Without limits' focuses on one man, though, we also get a tiny bit of an "inside track" on the politics of the running world in the late 60s, and of events within Prefontaine's career. Moreover, the story here isn't one of total inspirational triumph, and absolute victory, but rather of indomitable spirit; it has a rather different feel not just from the average sports film, but from the average biography, too. Such as it is I don't think this is such a riveting, essential viewing experience as to demand viewership, but it's well made, and enjoyable.
I find myself surprised in some measure, because this picture tries to be a little bit of everything. There's equal focus on Prefontaine's life generally, on his running career, on his relationship with Bill Bowerman, and on his relationships with the track world and his fellow runners. It tries to give a comprehensive look at who the man was, and to the credit of filmmaker Robert Towne and co-writer (and friend of Prefontaine) Kenny Moore, I think the screenplay is very well balanced. It might even feel a bit more natural in its storytelling for the fact of it as no one aspect gets treatment superseding another. At the same time I wonder if that approach doesn't somewhat diminish the whole; as a small portion of strength is depleted from each of several foci, none contain the utmost power that they could have had for the viewer. I think the feature is quite good, but it never strikes an especial chord, so it's never great.
That ethos seems to have been applied to much of 'Without limits' at large. Everyone involved makes a fine contribution - the impressive cast, all the crew operating behind the scenes, the editing team, cinematographer Conrad L. Hall, composer Randy Miller and the music supervisor who compiled the soundtrack. Is it just me, though, or does it seem like every facet is practicing restraint? All is good; nothing leaps out, unless one has a particular reason to pay attention to it (e.g. I'm a fan of Amy Jo Johnson, so I was watching her for supporting role, and she didn't disappoint). Donald Sutherland possibly gives the strongest performance of anyone in front of the camera, yet his is also a subdued bit of acting compared to anything we've seen from him elsewhere. Perhaps this is all in keeping with the tactic that Bowerman tried to instill in Prefontaine during his career, maintaining a (relatively) slow and steady gait until the psychological moment, though with that said, this movie never has its psychological moment to burst out of the pack.
Maybe I'm splitting hairs, though. The film wanted to tell the story of a major sports figure, and it has done so very well, both in its writing and in its craft. The end result is modestly absorbing and entertaining, if not perfectly grabbing, but sometimes that's enough. Unless one is a diehard fan of someone involved, or an avid athlete themselves, this might not be something to go out of your way to see. If you do have the chance to watch, though, 'Without limits' is a pleasant, interesting movie, and worth checking out.
I find myself surprised in some measure, because this picture tries to be a little bit of everything. There's equal focus on Prefontaine's life generally, on his running career, on his relationship with Bill Bowerman, and on his relationships with the track world and his fellow runners. It tries to give a comprehensive look at who the man was, and to the credit of filmmaker Robert Towne and co-writer (and friend of Prefontaine) Kenny Moore, I think the screenplay is very well balanced. It might even feel a bit more natural in its storytelling for the fact of it as no one aspect gets treatment superseding another. At the same time I wonder if that approach doesn't somewhat diminish the whole; as a small portion of strength is depleted from each of several foci, none contain the utmost power that they could have had for the viewer. I think the feature is quite good, but it never strikes an especial chord, so it's never great.
That ethos seems to have been applied to much of 'Without limits' at large. Everyone involved makes a fine contribution - the impressive cast, all the crew operating behind the scenes, the editing team, cinematographer Conrad L. Hall, composer Randy Miller and the music supervisor who compiled the soundtrack. Is it just me, though, or does it seem like every facet is practicing restraint? All is good; nothing leaps out, unless one has a particular reason to pay attention to it (e.g. I'm a fan of Amy Jo Johnson, so I was watching her for supporting role, and she didn't disappoint). Donald Sutherland possibly gives the strongest performance of anyone in front of the camera, yet his is also a subdued bit of acting compared to anything we've seen from him elsewhere. Perhaps this is all in keeping with the tactic that Bowerman tried to instill in Prefontaine during his career, maintaining a (relatively) slow and steady gait until the psychological moment, though with that said, this movie never has its psychological moment to burst out of the pack.
Maybe I'm splitting hairs, though. The film wanted to tell the story of a major sports figure, and it has done so very well, both in its writing and in its craft. The end result is modestly absorbing and entertaining, if not perfectly grabbing, but sometimes that's enough. Unless one is a diehard fan of someone involved, or an avid athlete themselves, this might not be something to go out of your way to see. If you do have the chance to watch, though, 'Without limits' is a pleasant, interesting movie, and worth checking out.