It feels like it’s time to release that burden you’ve been carrying. This Sporting Life comes from director Lindsay Anderson and writer David Storey. The cast includes Richard Harris, Rachel Roberts, Alan Badel, William Hartnell, Colin Blakely, Vanda Godsell and Anne Cunningham. Roberto Gerhard composed the music and Denys Coop handled the cinematography. Frank Machin (Harris) finds a chance to use his physical strength and anger on a Rugby League field. It seems like an ideal pairing as he quickly becomes a player with potential, but things don't go so well for him outside of sports... It’s like taking something someone else has without permission. Labeled as either a British Kitchen Sink Drama or a British New Wave film, This Sporting Life remains a distinctive and impactful work. It was director Anderson's first full-length feature and also Harris' breakthrough role. What unfolds over the two plus hours is a story of dirt, blood, and emotionally damaged people. Set against a gloomy backdrop of a damp Yorkshire city—where coal mines and factories provide jobs—the streets are paved with stone and the houses look blackened by smoke from chimneys. Just an animal on the field. This setting fits well with Machin's life, as even when he’s playing, he realizes that he’s trapped in a cycle of dissatisfaction. There are moments of brightness woven into the story, hope offered like a tempting reward, particularly during a lovely scene where Frank plays with Margaret’s (Roberts) children, but darkness is always present; it's necessary to the narrative. Margaret is his landlady and the target of his rough affections—a strong woman struggling to keep going. Still affected by her husband's death, her relationship with Frank is heartbreaking in its lack of hope. Has anyone ever made polishing boots seem so sad? Harris delivers a remarkable performance; he’s raw and anguished, all contained within a large frame. Roberts is also excellent, offering a nuanced portrayal that helps bring out the best in Harris. A group of talented British actors support the two leads, while Anderson and editor Peter Taylor use striking cut transitions to allow the non-linear storytelling to work effectively. From the impact of an arm hitting Machin's teeth at the film’s start to his punching a spider on the wall at the end, this is a significant British film from the 1960s. 9/10

Source on TMDB