Oct 282011
 

"Bobby felt very at ease with animals and children, but not adults" - Harry Benson

Like many chess enthusiasts I was fascinated by the prospect of seeing the recent biopic about the greatest of all chess enigmas, Bobby Fischer.

I am a member of the post-Fischer generation in that I started playing long after he had disappeared from public life. Of course I’ve heard so many of my elders talk in rapt terms about his genius and one can get a feeling for this by playing through his legacy of great games.

Unfortunately, what you can’t do is get any kind of impression of the man himself or the astounding impact he made on the world (not just the chess world) in 1972 when he played Boris Spassky for the World title in Iceland. It was this aspect of Fischer, as a man, and a global phenomena that I found so enthralling about the film.

The Director, Liz Garbus, had gone to great lengths to pull together as much archive interview footage of Fischer as she could and this really gave you a feel for the kind of man he was. Quite a lot was made of his lonely and damaged child-hood. This was put forward as the predominant reason why the stubborn, self-reliant streak that helped him become so successful also transformed him into a rampant paranoid delusional in later life.

Many of the photos taken by Benson in Iceland give a real feeling for the "lonliness and isolationof the position he was in".

Probably the aspect of the film that captivated me the most was the photography of Harry Benson. He was chosen to shoot Fischer for LIFE magazine at the Buenos Aires Candidates Tournament the year before Reykjavik and became, if not a friend, then at least a companion to Fischer during that period of his life. Evidently Garbus had approached Benson during her preparations for the film and had been amazed to find that he had a large collection of photographs that had never been published. They are amazing, a real window into Fischer’s soul. Much more than the interview footage, in which Fischer always seems so guarded and defensive. After I’d watched the film I was delighted to find out that Benson had subsequently published a book of his Fischer photographs and I immediately rushed to Amazon to buy it.

I’d certainly urge anyone who has an interest in chess to see the film when you get the chance. Just don’t expect lots of involved chess content. There is plenty about the 1972 match in Reykjavik but it is covered mostly from a personal and political angle. All-in-all it’s a really superbly made glimpse into the life of this brilliant, complicated and damaged man.

On a lighter note, one famous Fischer anecdote that didn’t make it into the film is a story that Hungarian Grandmaster Laszlo Szabo must have dined out on many times. At the Buenos Aires international tournament of 1960, he and Fischer had adjacent hotel rooms. One night, someone brought a young woman to Bobby’s room. The following morning it happened that both Fischer and Szabo left their rooms at the same time and Szabo shot an enquiring glance at Fischer who responded by simply saying: “Chess is better.”

All of this thinking about Bobby Fischer put me back in a frame of mind to look at some of his games and then I remembered the game and comments published by Walter Polhill in The Independent on Sunday back in the late 1990’s. Polhill selects a very unusual Fischer game that has a real splash of humour in it. Playing against Ulf Andersson, who had a reputation for labarinthine strategic and manoeuvring play, Fischer chooses to adopt the style himself and delivers a masterpiece. Enjoy!

By far the greatest player the world has ever seen, Bobby Fischer was also a superb parodist. The following victory of his is often dismissed as a mere display of attacking imagination. Yet making such an assessment would be to overlook one of the finest acheivements of the parodic art this century.”

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