Friday 25th July 2025
Blog Page 2021

Underrated

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The greatest criticisms facing the third film in the Alien Quadrilogy inevitably stem from comparisons, as ultimately David Fincher’s addition to the franchise must stand alongside Alien and its sequel Aliens: two very different films that are nevertheless broadly recognised as seminal and high quality works in the cinematic genre. Already under pressure to perform, Alien 3 was the result of an over-complicated creative process that involved six screenwriters and numerous revisions. Such trials and tribulations gave rise to the film’s initial reputation as a confused and regrettable footnote to its masterly precursors.

The plot has Ripley crash-land on the barren prison planet of Fury 141, where an all-male enclave of murderers and rapists is forced to accept her unwelcome presence when the eponymous alien begins to stalk the prisoners through the confines of the facility. It’s pretty basic and rather slow to start, and the often flimsy dialogue doesn’t sound any better in crude British accents. But look closer, however, and there is much to acclaim.

Thematically, Alien 3 is surer of itself than its predecessors; ideas of redemption, of sacrifice and duty, all well-suited to the penal setting, are intertwined with a millenarian Christian element that invites interpretation without taking itself too seriously. Charles S. Dutton, playing the charismatic leader of the prison’s religious sect, is more than able to carry off a role prone to disastrous bathos. And while the prison doctor, Clemens, is underused despite the character development he is afforded, the inmates’ varying responses to their grisly predicament belie claims that they are simply fodder for the murderous beast.

The talented Fincher, who went on to direct Seven and Fight Club, deserves praise for a number of memorable sequences, including a funeral scene intercut with the alien’s gory birth and the final frenetic show-down in the prison’s lead works. Sigourney Weaver, in an inversion of the maternal action-hero role that contributed so much to Aliens’ success, remains fresh and convincing. Ultimately, Alien 3 was always going to be easily criticised, yet learn to look past initial disappointment and we find a film quite worthy of its parentage.

Feature: The Next Dimension

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3D cinema is by no means a new phenomenon. It first found fame in the 1950s when pioneering films such as House of Wax used the illusion of depth perception to astound cinemagoers. As 3D experienced a new lease of life in the 1980s, audiences watched in horror as Jaws 3-D hit cinema screens. However these projects had limited success but the recent revival could change that. So what’s all the fuss about?

The 3D technology of today is slightly different to that of the past. Whilst the essential idea, making the picture ‘jump out’ of the screen, remains the same, the techniques are more sophisticated. Audiences 30 years ago would have watched two images coming from two separate projectors (one for each eye). There are several competing projection methods; some rapidly alternate between the two images, whilst others still use a dual-projection system to put both images on the screen at the same time. Either way, the end result is the same; each eye receives an image at a slightly different angle to the other. The glasses act as a filter, allowing each eye to see only one of these images, leaving the brain to do the rest. Yes the ticket prices are substantially higher than for 2D features and the glasses (no matter what they try to tell you) don’t make you look cool, but the experience is out of this world. 

Although the experience of watching 3D in IMAX is undeniably powerful it can be a bit of an optical assault. I found that the opening 20 minute sequence of Harry Potter and the Half Blood Prince in 3D was quite enough for me on an IMAX screen (which is just as well because that’s all there was!). However the producers definitely selected the most appropriate scenes to present in 3D; whirling through the streets of London following the death eaters’ destruction of Diagon Alley and the Millennium Bridge was nothing if not impressive.

Of course the biggest buzz of 2009, 3D or otherwise, was for Avatar; 14 years in the making and costing over $200 million to create – only one word can describe Avatar and that word is ‘epic.’ It is easy to immerse yourself in the world of Pandora when it is so perfectly captured for us onscreen. The use of 3D is at times subtle and at others mind-blowing; it can touch us or it can have us clinging to our seats. Avatar was much more than just a gimmick. To those who have claimed that in creating a technical masterpiece Cameron has neglected his craft, I can only say that I disagree emphatically. Whilst Avatar is undoubtedly more impressive in 3D it is truly great entertainment however many dimensions you watch it in.

2010 is set to be a huge year for 3D cinema with Alice in Wonderland and Toy Story 3. With each passing year the output of 3D films becomes greater and greater. In as little as a decade 3D films could become the standard format. I have mixed feeling about this prospect; granted, there are many films which look amazing in 3D , such as thrillers, but it is unlikely that the average rom-com would greatly benefit from the technology. There is a danger that film makers will rely on the novelty of 3D to the detriment of quality. Whilst new technology can improve our cinematic experiences it can’t, and shouldn’t, be used as the basis for a film. But, if Avatar is anything to go by then we have no need to worry. 3D is back and looks bigger, brighter and better than ever.

Feature: Best out of show – 2010

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For what is supposedly the most prestigious and authoritative celebration of cinematic excellence on the planet, the frequency with which the Oscars gets it wrong is startling and not a little depressing. This isn’t exactly a new problem – in 1942, How Green Was My Valley beat Citizen Kane for Best Picture, while in his long and brilliant career, Hitchcock never won Best Director (though the Academy subsequently realised their mistake and attempted to cover their tracks with a conciliatory memorial award in 1967) – yet it still persists to this day.  In 1995, Oscar deemed Forrest Gump to be superior to both Pulp Fiction and The Shawshank Redemption while in 2006 the heavy-handed Crash was favoured over the braver and subtler Brokeback Mountain. Indeed, while smaller ceremonies such as the BAFTAs are far more discerning in their decisions – as seen in the recent sweeping victory of The Hurt Locker over Avatar [working title: Smurfahontas] – it’s a rare thing indeed for the Academy to get it right, with last year’s victory of Slumdog Millionaire being an unexpected and extremely welcome surprise. Yet although the nominations this year haven’t been too disastrous, there were some gaping and unforgivable omissions from the shortlists. Some of the best of 2009 were forgotten by the Academy, so this is a chance to sit the Oscars in the chair, clamp open its eyelids and force it to acknowledge its mistakes. Preferably to Beethoven’s Ninth.

One of the finest British comedies of the decade, In The Loop, was rightly nominated for its screenplay, but it was Peter Capaldi’s blistering and surprisingly heartfelt performance which was the film’s sweary centrepiece. His absence from the Best Supporting Actor category is conspicuous and worrying, “like a big hairy rapist at a coach station,” to quote the man himself.

On a purely aesthetic level, the cinematography of the adaptation of Cormac McCarthy’s supposedly unfilmable novel The Road were astounding, as it brilliantly and beautifully evoked a slowly dying world. But the film also showcased two heart-wrenching performances courtesy of Viggo Mortensen and Kodi Smit-McPhee as the Man and Boy respectively. The film owes much of its success to these two actors, yet the Academy has ignored both.

While the merits of Sex & Drugs & Rock & Roll can be debated, what cannot is the powerhouse performance of Andy Serkis as the late, great Ian Dury. Perhaps the CGI ghosts of Gollum and King Kong still haunt him, but whatever the reason, he was denied a deserved Oscar nod.

Staying with acting, Moon is a film that succeeds or fails with the central actor’s performance, and fortunately Sam Rockwell knocks it out of the park in a part written specifically for him. His portrayal of the lonely Sam Bell is fragile and affecting, and so, predictably, he was denied a nomination. Indeed, the film itself has been entirely ignored by the Academy, despite being a superior sci-fi to District 9, which received a somewhat bizarre Best Picture nom. Fortunately, its director, Duncan Jones, was given due recognition at the BAFTAs, yet this ingenious little film deserves so much more.

This selection barely breaks the surface of the under-appreciated films of 2009, yet the Academy seems insistent to keep its mainstream blinkers firmly on. It might be the biggest event in the film calendar, but it seems that as an arbitrator of excellence, this ungainly leviathan cannot be trusted. Not one little bit.

Czech-ing new places out

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Stood in my work clothes next to a pair of Czech junkies in what seemed to be an abandoned shopping centre, I guess I did feel slightly out of place. I was beginning to wonder whether I’d taken a wrong turn, and was about to risk being robbed of my budget phone to call a friend, when I noticed the name of the pub scrawled in tiny lettering next to a doorbell. Eager to leave the crackheads behind; I pressed the buzzer. “Ahoj!” came a voice from inside the machine. I panicked. Was there something I was meant to say? A password, perhaps? Some kind of codeword that pledged my allegiance to whatever was going on behind those doors? I apologized several times over, and after a baffled silence over at the other end, I regained my wits and stammered the name of the place; “Èítárna“, or “The Reading Room”.  

The door opened and I walked into an empty, dark hallway in what looked to be one of those apartment blocks with art decor banisters and winding staircases. There were no signs, but I presumed I was supposed to walk up the stairs until some other little clue presented itself. 5 flights up and I’d approached this massive rusty iron grill, like the ones you’d imagine they have in places Notorious BIG visits when he’s not busy writing poetry. I walked tentatively through and into the foyer of an apartment that also had a bar, and which looked like it hadn’t had a makeover since communism ended. And, aside from the handful of typically pierced and stoned students with Czasta’s –  (that’s Czech rastas, for those of you unacquainted with the Czun, or Czech pun) – the same could be said of its guests (the makeover, or Czakeover. not the Czun.) who seemed to be championing the fashion of the 70s. (By the way, If you’re finding this difficult to follow, that’s because I’m being deliberately Kafkaesque. Did you notice the door motif, the mysterious passageways and the disembodied voice? I was this close to describing my new exoskeleton, but thought that may have been a bit of a giveaway). 

Èítárna“, as it turned out, is a coffeehouse/pub that holds small lectures and jazz music events. The establishment also collects magazines and books, and is home to a very large and lonely fish who spends his days watching the comings and goings of Prague’s self-proclaimed intellectual crowd. Some say, in his salad days, he’d chat to Rilke about life in a fish tank, and inspired the Prague born German poet to write “Der Panther”. I walked past a poster of “Plastic People of the Universe” (the Czech rock n’ roll band partly responsible for the fall of communism in Czechoslovakia) and one of Frank Zappa (a famous Czech dissident during, and political figure after the Velvet Revolution, who, incidently also sang the classic; “Don’t you eat that Yellow Snow”), and ordered a drink at the bar. That’s when I spotted a young Jarvis Cocker lookalike, who peaked timidly over the top of his book and tactically moved it closer to me so that I could notice he was reading Wittgenstein. Sure, that kid seemed a bit of a, well, what Salinger (RIP, brother) would refer to as a phoney. But the place in itself seemed pretty authentic. I have to admit, I was pretty czuffed with myself for finding what seemed to be a secret ex-dissident hangout. I wanted to find out more about its history. 

I got talking to a guy who looked like he’d been sitting on that mangy beige couch, pondering deep and meaningful things and blowing smoke rings since the Prague Spring. “Oh yes, this place is where all the Czech intellectuals (Czintellectuals?) have been coming to discuss politics, literature, and philosophy for decades. It had to be kept secret back then, of course, because the government were watching” he said proudly, stroking his ponytail and blinking behind his massive lenses. How exciting! “Really!” I exclaimed “Like who? Vaclav Havel?”, I peered eagerly around the room of chin-stroking fogies and detendu students brandishing gaulois cigarettes. “Oh, well, maybe not him, I don’t think. But others”. “Milan Kundera?” He shook his head. “Bohumil Hrabal? Vladimir Holan? Jan Beneš?” “Well. I don’t know. But this is where intellectuals have come to escape and discuss things for years!” Gesturing to his group of friends, he continued; “We’re here all the time, we don’t like to leave. Out there, people have got stupid.” His friends nodded. When asked why they thought that to be the case; each had his or her own opinion. One cried “globalization!”, the other “modern technology!”, another “Food!” (perhaps I misheard the last one. The Czech is still a bit ropey). My ponytailed friend finished; “Our society is stupid. But in this country, there is a revolution every 20 years. So we’ll just sit here and wait for the next one”.  

After a tram ride home that involved a drunk and disorderly skinhead football hooligan getting thrown out of the carriage by a driver who may as well apply for a role in the next Rocky, I had my own little ponder about deep and meaningful things. I then typed in the name of the pub into google. Not much came up; no star studded frequenters or any indication that it was once a hot spot for political dissent. In fact, it only opened a couple of years ago. 

Avi Shlaim on Middle Eastern Politics

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Oxford Professor Avi Shlaim discusses his views on the Israeli-Palestine conflict with reporter Olivia Williams

Clamping down on horror tackles

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Admittedly, I do feel that this was the least reprehensible of the three career-threatening fouls Arsenal have suffered in just four years. Shawcross was off balance and threw himself blindly at the ball which a superior player whipped away. So on this occasion I’m substantially more sympathetic than with Dan Smith’s horrible challenge on Diaby in 2006.

It was an act of stupidity, but that does not excuse the recklessness. There’s an argument for longer bans when the foul is this horrendous. Were Gallas to have been dismissed for his high, but by no means forceful tackle against Bolton he would be facing the same ban as Shawcross. Alex Song is now banned for only one less game for what looked to me a lot like shielding a football.

I don’t want to personally condemn Shawcross, but I do want to question that kind of tackle, so some serious points need dealing with. Firstly the ‘malice’ question. They’re never the type are they? I don’t think there was any ‘malice’ in the tackle, but unless Shawcross is a twisted psychopath there won’t be. If you want to defend him say it was a fucking stupid tackle, don’t give me all this shit about him being a wonderful family man, its irrelevant. The concept of intention isn’t really the point, and it certainly shouldn’t be an insurmountable defence. To be honest if intent was ever an issue he should be hauled in front of a magistrates court and banned from the game, but that’s obviously not the case.

The big question in the media today is why Arsenal? It seems a little much to blame the media for sides trying to kick them. Stereotypes don’t spring from nowhere; they do struggle under pressure. But the key word there is ‘pressure’, not force. Think back to the 2-2 draw with Everton last month, or the draw with Burnley in December. Those sides stymied the Gunners with hard work, not brute force. Apologists for Shawcross and any others who commit this sort of foul should acknowledge that it was more than just mistimed. Weaker sides will always try and beat better ones through effort, and even fouling in any league. Watch sides try and fail to hack at Messi, it’s no different.

There is though a gap between fouls, such as those committed repeatedly by Porto on Fabregas, and horror tackles. It’s fair to argue that this sort of foul is an unfortunate extension of sides trying to hold sronger teams by force. Diaby was injured at Sunderland, Eduardo at Birmingham and now Ramsey at Stoke. You can’t stop sides trying to win through effort, nor should you, but you must try to legislate against the type of tackle that takes that concept too far. Its not a question of intent, nor is it a question or the injury caused; most broken legs in football come from innocuous challenges. Any horrendous foul should mean far harsher punishments than those for professional fouls or even dissent. That is the only way possible to encourage a measure of restraint in such tackles. This is why tackling from behind was outlawed, to lessen the threat of such challenges.

You can’t rule against people trying dangerous challenges. Every fan loves it when they come off right. But that doesn’t mean you can’t punish people when it goes wrong. If you take the risk, you must be prepared to face the penalty. 

Deeply talented Blues swimmers

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This year, Varsity Swimming was back at home for Oxford, with the event taking place at the Rosenblatt Pool. After last year’s dramatic close encounter where it came down to the final relay, with Oxford winning by just one point overall, there was definitely a lot of anticipation for an exciting repeat and for the third Oxford victory in a row.

The team felt confident having put in an outstanding performance at the BUCS team event taking first place and easing through to the final. However, Cambridge also looked strong, winning the second division (where they were relegated to last year). So Oxford knew they had to bring out their best in order to take victory. With the lead changing hands after nearly every race of the match it was again a tight call – until it came down to the relays and 3 outstanding races from Oxford to take the win.

The Varsity swimming match is decided over seven individual events with each team entering two swimmers, and two relay events with one team entered in each. In the first event of the day, the women’s 200m Individual medley, points were tied with Oxford’s Alex Holderness and Katherine Rollins finishing second and third respectively. Oxford then took the lead after the men’s individual medley Will Allen-Mersh managing to touch out Cambridge in a rapid time of 2.08.64 and fresher James Holder taking third. Cambridge took one-two in the female backstroke giving them the lead at 16-14. In the men’s backstroke however, dominating swims from Davis Tarwater (a member of the USA World Championship team 2009) and Tom Booth (a Fresher who made an appearance in the junior Commonwealth team) gave Oxford the maximum 7 points and a new Oxford record from Davis of 54.36 (destroying the record set last year by Cambridge swimmer Tom Rootsey).

The women’s 200m free saw a close race with Oxford swimmer Nadja Danninger just being pipped to second behind Kat de Rome of Cambridge allowing the light blues to draw level. The men’s 200m was again a close affair but this time Oxford managed to pull through with Vice-Captain and previous light-blue swimmer Tom Close taking first and Joe Cruttwell taking third to give Oxford the lead once more. After the women’s 100m butterfly Cambridge were again ahead but in the men’s race a powerful swim from Jack Marriott, giving him a new Oxford record of 54.60 and a remarkable comeback from Oxford’s Kouji Urata in the final length gave Oxford a 41-39 lead at the interval.

The 400m freestyle, making its second appearance at the Varsity match, saw impressive swims from both Cambridge girls with their captain taking first place. The much anticipated men’s 400m followed, and after last year’s unexpected one-two from two very impressive Cambridge swims, Oxford were desperate to fight back. Another appearance of the World Class Davis Tarwater saw Oxford take first place with Davis cruising to a new record time of 3.56.45 (5 seconds faster than last year’s Cambridge win).

The next event was the 100m breaststroke, and the Oxford team were hopeful that fresher Katherine Rollins could destroy Cambridge’s record of wins in this event. It was a tight race but Cambridge did not concede defeat and took first place giving Oxford second and fourth. In the men’s race it was finger-biting stuff with all four swimmers even at half-way. In the last length however, Oxford’s James Soane managed to pull away from the line-up taking the victory and a new record, with Captain Ian Osband coming third. The women’s 100m freestyle saw a very gutsy performance from Nadja Danninger to steal the win and set an impressive record of 58.95 with fellow team member and ex-Wales international Alex Holderness taking third. The men’s race saw Tom Booth and Tom Close destroy the tabs with two outstanding swims of 51.13 and 51.57 respectively, both of which are substantially faster than the record set last year. At the end of the individual races the overall score was 73-67 to Oxford recreating the same situation as last year where just two wins from the four relays would seal Oxford the victory.

The first relay was the women’s 4x50m medley with Cambridge taking a demanding lead early on and never looking back. Oxford were confident in the men’s 4x100m medley relay however, after winning all four strokes earlier on and showed their strength coming home with a new Oxford record time. Now Oxford needed just one more win from the final two races to clinch the title.

After a motivational speech from Captain Ann Hyams, the girls took their places for the women’s 4x50m freestyle relay. In the first leg Alex Holderness battled it out with Kat de Rome of Cambridge before just touching her out. Katherine Rollins then took control and put Oxford in the clear lead with team mate Philippa Pettingill maintaining this and letting the final swimmer, Nadja, dive in with the advantage. With the home crowd exploding into rapturous cheers Oxford touched in first place giving Oxford victory once more.

With the outcome already decided the men’s team could afford to relax but by no means did they take it easy. The Oxford men, with Davis Tarwater on the anchor leg and being named the outstanding swimmer of the meet, brought home the 8th Club Record in a time of 3.29.91. The final score was 97-83 to Oxford, with Cambridge taking the women’s event but Oxford dominating in the men’s with a win of 58-32. With Oxford’s third victory in a row it looks like the Cambridge run has clearly ended and it’s the dark blues time to reign in the pool. And with much talent shown by the new freshers of the team it certainly looks good for the future.

The Pro

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Rugby is undoubtedly one of Oxford University’s strongest sports; so it is perhaps not surprising that the prospect of playing for the Blues lures even those who have already represented their country in the sport. Makoto Tosa, now completing an Advanced Diploma in British & European Studies at Lady Margaret Hall College and playing flanker for the Blues, is one such player. His sporting pedigree is undeniable, after having played for his university team and for the NEC Green Rockets in Japan, Makoto represented the Japan under-23 team whilst still studying at the Kanto Gakuin University.

When in the Japanese under-23 squad Makoto’s training schedule was strenuous; with 4 or 5 compulsory training sessions, gym sessions and a match every week. Despite his university studies, Makoto lived the life of a professional athlete with his coaches telling him how to train, how to eat and how to work within a team. This atmosphere, he admits is a world away from his training with the Oxford Blues which consists of two team training sessions a week. Makoto sees the difference in the superior rugby pedigree of the Oxford players, the majority of whom he says “used to play for pro-academy, national youth or Super 14 teams”, and are far more comfortable training individually.

With such an international sporting achievement under his belt, one may ask why Makoto chose to apply to Oxford University rather than simply taking up rugby as a profession? Even though he still wishes to trial for pro clubs later in his life, Makoto commented that the chance of studying in Oxford was too good an opportunity to miss. With the prospect of improving his English and learning more about Europe at the same time “playing rugby in a good environment” being the deciding factor.

When I asked Makoto this years’ Six Nations tournament, like the majority of pundits in the sport hes thinks France will run away with it. With the varsity match now over, Makoto can turn his attention to the equally important competition of the rugby cuppers plate tournament and aid LMH’s standing in the competition, adding another rugby accolade to his sporting pedigree.

Somerville sustain promotion push

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Somerville: 3, Keble: 2

Somerville continued their push for an unlikely promotion place this season with a hard fought win over Keble, surviving a late Keble fight back to take the three points in an entertaining game. Their victory keeps alive hopes of reaching the JCR Premier Division next season.

The welcome spring sunshine and a pitch in good condition encouraged the two teams to play some neat and attractive football in the opening exchanges, but a cutting edge was lacking and neither goalkeeper was required to make a save.

However, Somerville broke the deadlock midway through the first half, Joe Lane meeting Jake Richards corner with a firm header into the top corner. It was an impressive finish from the Somerville striker, seeing as he was near the edge of the penalty box when he met the outswinging ball, but still powered it past the Keble keeper.

The goal gave Somerville a lift and they ended the half unquestionably the better side. Captain Richards was beginning to pull the strings in midfield and his superb through ball was met by hard working left winger Tom Deegan, who couldn’t quite place his shot inside the post. Keble would have been happy to hear the half time whistle, having tested Somerville goalkeeper Rhys Bevan only once during the whole half.

Keble used the half time break to regroup and started the second half at a much quicker tempo. This impressive start was rewarded with an equaliser a few minutes after the restart. A long ball was flicked to Patrick Smith who evaded the challenges of two Somerville defenders before placing a smart finish into the top corner. Keble’s resurgence did not last long however, and Somerville were back in front less than five minutes later thanks to another goal from a corner. This time Ralph Turner met Pete Stewart’s in-swinging cross with a diving header at the near post.

Once more the goal galvanised Somerville and they scored again soon after from yet another set piece. This time a long throw was cleverly flicked on by Alex Portz to his central midfield partner Jig Plowright who powered a header into the bottom corner. At this stage it appeared that Somerville might run away with the game as every attack produced a goalscoring opportunity. Second half substitute Nathaniel Jowitt was unlucky to hit the cross bar twice in as many minutes from two well struck shots. The frame of the Keble goal was again tested soon after as Turner’s long range shot bounced on the bar twice down before falling safely into the Keble goalkeeper’s hands.

Keble responded well to this good fortune and ended the game much stronger, beginning to threaten what had previously looked like it was going to be a routine three points for Somerville. They pulled one goal back as midfielder Alan Willies took advantage of some poor Somerville defending to emphatically head home from a corner, setting up a very interesting final ten minutes.

Despite being driven forward by captain Will Tane, Keble were unable to break through thanks to a combination of impressive Somerville defending and a lack of composure in front of goal.

The result was probably fair given the balance of play, but Somerville will be wary of how their dominance faded towards the end of the game. They will certainly have to play better if they are to pull off the victories against Worcester and St Johns they need to maintain their promotion push over the season’s final few weeks. Somerville have proven themselves a good football team this year; aside from their form in the league, they knocked Premier Division champions-elect Christ Church out of Cuppers, one of the competition’s biggest shocks.

For Keble, another defeat means they are still firmly in a relegation battle and desperately need to gain some points from their remaining games.

Losing is no laughing matter

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Andy Murray may have lost the Australian Open final last month, and despite Australia’s attempts to mock his tears, it appears that they are in keeping with a recent trend that transcends almost every sporting arena.

Tears have forever, it seems, pervaded the theatre of world sport and characterized the careers of players and teams throughout their long histories. Who can forget Paul Gascoigne’s reaction to that yellow card in Turin, Jana Novotna at Wimbledon, or perhaps most touchingly the myth that Donald Bradman failed to pick Hollies’ googly at the Oval due to the lack of a hankerchief?

Such outbursts of emotion were initially one-offs. Forever remembered for their rarity as much as for their release of emotion and intensity. How times have changed. More and more it has become the trend to launch the team lifeboat as soon as defeat (or victory) is upon the melodramatic stars. Whether or not the RNLI has been drafted in to sit alongside the St John’s Ambulance men at international rugby fixtures is one thing, but perhaps more interesting is to find a reason as to why such a reaction to grief and relief has become increasingly acceptable of the field of professional sports.

Until the start of the 1990s, blubbing sports stars didn’t exist. If a player wanted to cry he or she would stoically leave the field of play, march to the dressing room before, only then, balling one’s eyes out into the nearest sweaty towel. ‘Gazza’ made such an impact purely because such a spontaneous outburst of emotion was unprecedented. A footballer crying? Surely not.

Yet now it is commonplace to see men and women from tennis players to footballers to golfers whimper and sniff through acceptance speeches worldwide. When Roger Federer won his second Wimbledon title he very generously contributed to Centre Court a downpour of such magnitude that, had it occurred ten minutes earlier would surely have sent the ball boys running for the covers and Cliff Richard.

Another case of overusing the lacrimal glands, under different circumstances admittedly, was when John Terry missed a penalty to win the Champions League in Moscow. He too opened the flood gates and had to be consoled by a fortunately already drenched Frank Lampard (and possibly later Mrs Wayne Bridge). This to add to the multitude of blubbers turned portable sprinklers who sit and litter the pitches with their bodies come final whistle in the knockout rounds of any international soccer tournament.

For some this is a genuine display of emotion for others it’s an unfortunate product of the players trying their utmost to ‘show commitment’ to their cause. In other words, if you don’t turn on the waterworks, then your heart was never really in it.

Football has been grateful to accept the image of the weeping hero more than any other sport. In part this is due to the number of supporters on the last day of the season who shed more than a tear when their team is relegated. A great deal of empathy is created when they see their favourites pledging allegiance to the doomed club by joining in the shared bawling. When local boy Alan Smith did exactly that at Bolton in May 2004 he was embraced by the Leeds fans a ‘class act’ and was lauded for his dedication to the cause whilst Mark Viduka, who had simply shrugged his shoulders, was lambasted as an underachieving mercenary. Some watery eyes at a convenient juncture can, nowadays, make or break a career in the eyes of the fans.

Even cricket has caught the crying bug. The Ashes of both 2005 and 2009 were fortunately bereft of tears, but not so the podium at last year’s women’s World Cup. After England had defeated New Zealand in the Final, the ‘White Ferns’ captain Haidee Tiffen fronted the post match interview visibly welling up and exited tearful. Serial sniffler Federer behaved in an almost identical manner when defeated at the Australian Open in 2009 after Rafael Nadal got the better of him. Here once again the tears were of the loser, those now ubiquitous tears that polarize audiences; either you sympathize with the defeated or laugh at their childish and public display of emotion. In the case of Federer one has seen them so often, that whether he is conqueror or conquered he is seen with a crumpled face of unbridled emotion.

Making grown men cry is something that only sport can conjure on a truly public front. The spontaneous release of emotion is something that connects the star to his fans and allows someone as masterful as Federer to finally appear human. The true tears do show the passion and desire that draws so many people to watch and enjoy sport in the first place, though the more we as an audience see such antics, the more the act is diluted by the very watery teardrops that fall. There is obviously no way that such an act can be controlled, but the day the lifeboats arrive at Twickenham is the day that surely crying has taken too great a hold on what was originally the macho world of men’s sport.