“Chess is basically a search for truth, right? So, I’m searching for the truth.”Bobby Fischer
It is infinitely harder to translate a cerebral face-off to film than a physical one. The advantage to Bobby Fischer as a subject is that man’s personality and paranoia provide energy in between bouts. He is contradictory in nature, by turns self-assured and cowardly, single-minded and constantly distracted. Zwick’s film largely glosses over his worst traits, whilst not trusting the viewer enough to slow the pace sufficiently to allow games to breathe (the camera is instead as distracted as Fischer). Often it is through the eyes of Liev Schrieber as his rival Spassky that we find more nuanced understanding of Fischer. This is a film that will mean far more to those who lived through — or are at least familiar with — the Cold War, else the idea of geopolitical ramifications (on which the film frequently relies for its stakes) being attached to a game of chess seems a quaint curiosity. Merely relying on newsreels and mentions of White House attention fails to communicate how this became perceived as a battle of ideology.