T-Mobile : Hell On Wheels
I promised a review weeks ago about the cycling documentary Hell On Wheels, but I have been unable to stop watching it long enough to follow through.
Hell On Wheels chronicles the 2003 Tour de France from the standpoint of German T-Mobile riders Erik Zabel and Rolf Aldag. Time is also given to others such as Andreas Kloeden and Alexandre Vinokourov, but we unfortunately miss out on Jan Ullrich because he was on Team Bianchi during the 2003 Tour de France.
Not only will cycling fans enjoy Hell On Wheels, but so will non-cyclists wanting to grasp the enormity and unique sporting appeal of the Tour de France. This film provides a larger perspective as to why the Tour de France is the pinnacle while everything else falls in line behind.
The tone and mood throughout the film is relaxed while the music has a more contemplative jazz feel to it. The pace is slow with a lot of casual interaction with Zabel, Aldag, Kloeden and some Vino. Every viewpoint is covered regarding the riders, soigneur, journalists, roadside fans, team directors and not to mention incredible landscape photography. The film is mostly in German with some French while providing English subtitles.
Zabel and Aldag provide significant insight as to their thoughts and moods as the race is taking shape. Zabel is the talker while Aldag is the more quiet type and slightly guarded. Zabel discusses his status among the elite sprinters and realizes his days of dominating sprints are over. He’s accepting of this changing role as long as he can still contest the sprint, but only if it’s not a new name sending him to second place him each time.
Zabel and Aldag were on the same team their entire careers until Aldag retired at the end of 2004. The two are roommates during the race, and it's apparent they are close friends off the bike. Aldag will do anything for his leader, but Zabel cannot repay him enough. Both have a humbleness you hope to see from accomplished competitors.
A man named Eule is another important figure in the film. Eule is the team physical therapist and soigneur who spends significant time looking after Zabel and Aldag. It’s clear Eule keeps his eyes focused on attending to his riders’ needs at all times, even when they are not aware of those needs. One feels his loyal obligation to making their racing experience more palatable. Plus, the riders open up their hearts to Eule without expectation of anything in return.
French scholar Serge Laget provides a valuable historical perspective. It's fitting considering 1993 was the centenary year of the Tour de France. As Laget says, cycling is what it is today because the Tour has set the standards. He goes on to add, "The athletes come to the audience on the Tour and treat them like nobility and it's all free!....the riders come to you, Hinault, Armstrong, Indurain....the regular guy, the loser, the metro commuter. Cycling is the only sport that ennobles its audience."
One interesting scene takes place in an old chapel along the route. Inside the chapel are what look to be pews for sitting through a service, but lined along the walls of the chapel are nothing but cycling jerseys. You sense this is a building of worship for the sport of cycling. A man then explains his feelings on suffering, and it’s well worth offering up here. I would give him credit by name, but I am unable to identify him.
“For me, suffering has two meanings. Suffering can be negative. If you try to suffer for its own sake, that’s bad. That’s unhealthy. There’s something wrong in your head. But when you talk about suffering that you must get through and that you can survive through enormous effort, that is something else. That is positive, good and beautiful. Beautiful because you think of courage, of stamina, loyalty, the willingness to make sacrifices, modesty and love. From this perspective, the suffering during training, during sporting competitions, while doing one’s job, which all require great effort, is the same as religious suffering. It is love. It is beautiful. I like that.”
Me too.
It is this understanding which captivates you at the finish. After the final stage Zabel and Aldag are alone with their machines on the Champs Elysess. The pain, the suffering, the stress and the love is over. Both mount their machines one last time as the horns and strings of music pick up lifting the magnitude of the scene.
A sigh of relief mixed with an anticipated re-birth until the next time.
Hell On Wheels chronicles the 2003 Tour de France from the standpoint of German T-Mobile riders Erik Zabel and Rolf Aldag. Time is also given to others such as Andreas Kloeden and Alexandre Vinokourov, but we unfortunately miss out on Jan Ullrich because he was on Team Bianchi during the 2003 Tour de France.
Not only will cycling fans enjoy Hell On Wheels, but so will non-cyclists wanting to grasp the enormity and unique sporting appeal of the Tour de France. This film provides a larger perspective as to why the Tour de France is the pinnacle while everything else falls in line behind.
The tone and mood throughout the film is relaxed while the music has a more contemplative jazz feel to it. The pace is slow with a lot of casual interaction with Zabel, Aldag, Kloeden and some Vino. Every viewpoint is covered regarding the riders, soigneur, journalists, roadside fans, team directors and not to mention incredible landscape photography. The film is mostly in German with some French while providing English subtitles.
Zabel and Aldag provide significant insight as to their thoughts and moods as the race is taking shape. Zabel is the talker while Aldag is the more quiet type and slightly guarded. Zabel discusses his status among the elite sprinters and realizes his days of dominating sprints are over. He’s accepting of this changing role as long as he can still contest the sprint, but only if it’s not a new name sending him to second place him each time.
Zabel and Aldag were on the same team their entire careers until Aldag retired at the end of 2004. The two are roommates during the race, and it's apparent they are close friends off the bike. Aldag will do anything for his leader, but Zabel cannot repay him enough. Both have a humbleness you hope to see from accomplished competitors.
A man named Eule is another important figure in the film. Eule is the team physical therapist and soigneur who spends significant time looking after Zabel and Aldag. It’s clear Eule keeps his eyes focused on attending to his riders’ needs at all times, even when they are not aware of those needs. One feels his loyal obligation to making their racing experience more palatable. Plus, the riders open up their hearts to Eule without expectation of anything in return.
French scholar Serge Laget provides a valuable historical perspective. It's fitting considering 1993 was the centenary year of the Tour de France. As Laget says, cycling is what it is today because the Tour has set the standards. He goes on to add, "The athletes come to the audience on the Tour and treat them like nobility and it's all free!....the riders come to you, Hinault, Armstrong, Indurain....the regular guy, the loser, the metro commuter. Cycling is the only sport that ennobles its audience."
One interesting scene takes place in an old chapel along the route. Inside the chapel are what look to be pews for sitting through a service, but lined along the walls of the chapel are nothing but cycling jerseys. You sense this is a building of worship for the sport of cycling. A man then explains his feelings on suffering, and it’s well worth offering up here. I would give him credit by name, but I am unable to identify him.
“For me, suffering has two meanings. Suffering can be negative. If you try to suffer for its own sake, that’s bad. That’s unhealthy. There’s something wrong in your head. But when you talk about suffering that you must get through and that you can survive through enormous effort, that is something else. That is positive, good and beautiful. Beautiful because you think of courage, of stamina, loyalty, the willingness to make sacrifices, modesty and love. From this perspective, the suffering during training, during sporting competitions, while doing one’s job, which all require great effort, is the same as religious suffering. It is love. It is beautiful. I like that.”
Me too.
It is this understanding which captivates you at the finish. After the final stage Zabel and Aldag are alone with their machines on the Champs Elysess. The pain, the suffering, the stress and the love is over. Both mount their machines one last time as the horns and strings of music pick up lifting the magnitude of the scene.
A sigh of relief mixed with an anticipated re-birth until the next time.
posted by NashvilleCyclist.com at 1/29/2006 12:05:00 PM
1 Comments:
cool! good review - this one is on my netflix cue and I'm really looking forward to watching it. Have you seen another cycling classing "A Sunday in Hell" or something like that - about Paris-Roubaix? Netflix doesn't carry it, but I've requested them to stock it - hmmm, a Belcourt bicycling film festival would be pretty great!
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