Posted: 07/17/2005

Murderball

(2005)

by Anna Keizer

This is a film about athletes from around the world who gather together every four years to compete at the Olympic Games. The only thing is, the men are quadriplegics and they play their rugby in wheelchairs. Don’t feel sorry for these guys, though. They used to call the game murderball. Apparently, that name had to go when it became clear that “murderball” wouldn’t attract the corporate sponsors. Officially, the sport is now called wheelchair rugby.

Though there are organizations all over the world- Great Britain, Germany, Belgium, Japan, Australia, New Zealand- Murderball follows the United States team from its defeat by one point to the Canadians at the Wheelchair Rugby World Championships in 2002 to their rematch at the Athens Paralympics just last year. The rivalry between these two teams is intense, to say the least. At the forefront of the conflict is one-time U.S. player and now Canadian coach Joe Soares. Bitter after his cut from the American team, Joe defected north in retaliation. His only mission now is to beat the United States at the 2004 Paralympics. Yet whether his determination to win is fueled by a competitive spirit or wounded pride is unclear. Whatever the reason, his actions have caused obvious resentment and hatred by the American team. Players Mark Zupan and Scott Hogsett make it clear that there is no love lost between them and Soares.

However, Murderball is more than just a film about athletes and the nature of sports. Going beyond the athletic ambitions of these men, the film delves into the daily ups and downs of their altered lives. Each tells the story of how they became paralyzed- a car accident, a punch to the neck, a childhood illness- and more importantly, how they have moved on both professionally and personally. They speak frankly about family, friendships, sex and the hopes they have all harbored of walking once again. As one character states, “Your mind becomes a bigger disability than your body.”

Although the competition scenes are engaging enough, the real gems in the film are the scenes between Soares, a sports nut to the core, and his soft-spoken intellectual son, Robert. It’s obvious that Robert adores his father. He silently begs for Joe’s approval throughout the movie, whether by polishing all of Soares’ many trophies or by pleading with his father to watch his orchestra performance at school. For his part, it’s only when Joe almost loses his life that he begins to realize there may be more to it than just rugby.

Other scenes that truly capture the spirit of the film are when Mark Zupan tells of meeting his girlfriend at the local morgue or when Scott Hogsett recalls the time a nurse showed his mother the erection he could still achieve after paralysis. These are the stories that encapsulate the humor and dignity with which these men have decided to live the rest of their lives. They don’t dwell on the physical restraints that have changed their future. And they don’t expect anyone else to go easy on them because of their handicap, either. Just watch them in action; these men crave battle and conflict.

If anything, the film’s only drawbacks are a few too-easily tied up endings. Namely, after years of estrangement, Mark and the friend who drunkenly caused his fateful accident suddenly become chummy again, without so much as a conversation seen between them. Likewise, by the film’s close, Soares and his son are seemingly the best of friends. Instead of being a demanding, cold father, Joe now shows off his son’s picture to anyone who’ll take a look, bragging about Robert’s many academic achievements.

Murderball is a film not to be missed. From start to finish, the movie is thoroughly watchable and entertaining. The action is captivating, the personalities engaging and the stories fascinating. Put together, it makes for a truly unique piece of work.

Anna Keizer is a film critic and filmmaker in Los Angeles.

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