(spoiler free)
Setting off in typically standard fashion for both sport and documentary films, Alex Holmes’ The Last Rider opens with a montage. Going on to detail the amazing true story of American cyclist Greg LeMond, the film charts his early sporting success, before he was the victim of a life-threatening accident. In turn, the story of his sporting redemption becomes the film’s focus, but with another cliche of the genre firmly in gear, would The Last Rider be able to transcend these genre tropes?
Apparently starting as it means to go on, The Last Rider continues with a fairly procedural look at LeMond’s childhood, personal life and early years in cycling. It does this by way of archival footage and talking head interviews, which include LeMond himself. His inclusion gives the documentary a first-hand account of his story which is further suplemented by his wife, Kathy as well as a previous coach, Cyrille Guimard. This account of LeMond’s rise to prominence within his sport certainly has moments of intrigue, but it’s far from enthralling. Thankfully it does well to dodge a possible road bump, in that it’s all made simple enough to follow. Even complete newcomers to the world of professional cycling will be able to keep up without the aid of any stabilisers.
However, this first section acts largely as context for the more remarkable chapter of LeMond’s story: his subsequent accident and return to sport. This is an amazing feat in itself, and one that’s handled here efficiently. Yet The Last Rider truly comes into its own when it directs its full attention to delivering its thrilling account of the ’89 Tour de France. Returning to the famous cycling race for the first time since his accident, the film establishes a tense three-horse race between LeMond and two of his fellow competitors: Percio Delgado and Laurent Fignon. Delgado is also interviewed for the film, whilst Fignon, who passed away in 2010, is represented by archival footage and testimony from his coach, Guimard, and the other competitors.
Although, herein lies the problem with The Last Rider. It paints Fignon as somewhat of a villain, and while of course cinematic sporting stories often work best when a rival is as unlikeable as possible, this isn’t fiction, and he’s not present to defend himself. Holmes is clearly aware of this issue and does his best to remedy it. This includes featuring relevant interview footage as well as highlighting Guimard’s close work relationship him, allowing him to refute some claims made against him. But when both LeMond and Delgado are present to give their accounts of events and Fignon isn’t, the odds feel stacked against him creating an unfairly balanced account of his character.
Furthermore, with LeMond being the subject, the film can feel a tad manipulative. Audiences are presented with three competitors and ultimately told which one they should be rooting for. Although ironically, through the often harsh and pointed discussion of Fignon, the film actually paints him in the most intriguing light. Of the three, he’s certainly the most interesting and unique personality and may have viewers wishing the film was about him, rather than LeMond. Perhaps the words spoken against him are warranted, maybe he really was the villain of the Tour, but it doesn’t remove the bias against him that is prevalent throughout the film.
Nevertheless, it can’t be denied that The Last Rider‘s account of the ’89 Tour de France is thoroughly captivating viewing. The film’s stage-by-stage account of the Tour’s variety of events and the showcasing of the trio’s dramatic rivalry quickly becomes completely gripping. So much so that it makes this cinematic retelling compelling enough to convince even the most stubborn of cycling cynics to get into the competitive spirit. Clearly the ’89 Tour was one filled with invigorating competition and much drama, both on and off the road, and The Last Rider absolutely transports this excitement straight onto the screen. Teasing it for all its worth, right up until the Tour’s exhilarating climax.
Albeit in the midst of such stirring cycling it’s easy to forget the film’s shortcomings. Because as a documentary, it’s far more successful when it’s functioning as an objective look at this specific Tour de France, rather than when it’s profiling LeMond’s individual struggles with its more limited scope. So while the film’s failure to give Fignon an adequate voice makes for an at times uncomfortable cinematic saddle, with such an electrifying race unfolding for the film’s majority, it’s well worth the ride.
Written by Hamish Calvert
★★★
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