Squash Ω (2014) – Short Film

A short film that explores the abstract narrative of an enthusiastic and passionate “squash” player.

Squash Ω from Derek Goulet on Vimeo.

Cast

Tim Patterson as Tommy Williams
John Hill as Jon Hill

Credits

Written and Directed by Derek Goulet and Tyler Chauncey
Director of Photography – Tyler Chauncey
Editor – Derek Goulet
Producer – Jill Bailey, Derek Goulet, and Tyler Chauncey

Crew

Gaffer – Ben King
Sound Recordist – Davis Bannister

There’s a lot to like about Goulet and Chauncey’s short film, not least the bewildering number and variety of ‘that’s not really squash‘ references, possibly referring to the ‘Ω’ of the fiilm’s title.

There was the actual squash reference, of course, namely the main character’s narrative tribute to his hero Jahangir Khan and his astonishing 555 match unbeaten run. But then the film introduced a series of images which, whilst not distracting from the story, kept this viewer at least wondering where the plot was heading. There was Tommy’s training regime which showed him roller-blading whilst playing air-shots with a  racquetball racquet. Crossed badminton racquets adorned the wall of his room above a photograph of Jahangir. When the on-court action began, Tommy and his opponent, Jon, entered a giant glass-backed court with no wall markings or tin. The court’s floor bore several sets of markings, including (possibly) badminton, whilst and on-court umpire completed the surreal scene.

Finally, having been knocked unconscious during his match, a dream sequence (Tommy’s sitting fully-clothed in a milk-filled bath being sponged down by the umpire and two assistants) is intercut with unsuccessful on-court attempts to resuscitate him.

I, for one, can’t wait for the follow-up.

Hitting Walls – Squash Art Installations

It’s not often you come across an art film inspired by squash but here’s an entire series of them that have been presented as installations in art exhibitions worldwide. Carlin Wing’s “Hitting Walls” video pieces fall neatly into the genre of site-specific works designed to transform the perception of a space.

Wing was a professional squash player who changed careers. After several years on the women’s professional tour, playing alongside stars like Nicol David, Ivy Pochoda, and Sharon Wee, Wing headed to California to attend the California Institute of the Arts in Valencia. The “Hitting Walls” pieces are just some of the creations emerging from her  work.

In The Eye Of The Beholder (2006)

Wing’s dual identity as a squash player and a photographer has its beginnings in her time as an undergraduate.

In the Eye of the Beholder, 2006 from carlin wing on Vimeo.

Here, Wing’s “In The Eye Of The Beholder” single channel video-loop installation records the moment when the ball hits either side of the central front-wall horizontal line. The overall effect is both jarring and mesmeric.

Hitting Walls (v.VII) (2009)

The second iteration of this video was made for an exhibition at the Anthony Greaney Gallery in Boston in 2009. Accordingly, the Los Angeles footage was mostly swapped out for footage shot in Boston including clips of the John Hancock Building and the Carpenter Center for the Visual Arts. The latter was Le Corbusier’s only completed building in North America although he also submitted drawings for the UN building in New York City.

Hitting Walls (v.VII), 2009 from carlin wing on Vimeo.

The initial footage used in this 2009 piece refers back to “In The Eye Of The Beholder” but there are sections filmed in a variety of locations and spaces. Wing photographed the courts of international squash tournaments using long exposure times to capture the events from start to finish. The resulting installation is fragmentary but always engaging, drawing the viewer into a web of sounds and images.

Hitting Walls (v.I) site specific installation with audio piece (2010)

In another single-loop installation, this 2010 piece echoes the minimalist vein struck by Wing in her “In The Eye Of The Beholder”.

Hitting Walls (v.I) site specific installation with audio piece from carlin wing on Vimeo.

This time, the frosted glass-enclosed source of the sound of a squash ball hitting a wall stares blankly from the screen.

At the time of writing, Carlin Wing is an Assistant Professor of Media Studies at Scripps College in Claremont, California. Her work on “Hitting Walls” continues, supplemented by written reflections on squash and its artistic interpretation. Her 2014 article “Hitting Walls (v.XXVIII) – Captured  Play” “uses a thick description of a single point played by Ramy Ashour (Egypt) and James Willstrop (England) during the finals of a professional squash tournament in 2008 to evoke the rhythms of virtuosic play and to describe the vast infrastructures we construct for its capture.”

Whatever your view, WIng’s life as an artist has undoubtedly been and continues to be inspired by squash as a form of human expression.

Sources

The videos associated with Carlin WIng’s “Hitting Walls” installations can be found on Vimeo. Her article “”Hitting Walls (v.XXVIII) – Captured  Play” can be downloaded from the Sage Journals website.

 

 

The Play’s The Thing: Squash On Stage

Betrogen (Berlin Renaissance Theatre)

It’s one thing to write a serious play, particularly one using squash as a metaphor for the male social games played out by the protagonists of a classic love triangle. But it’s quite another to stage that play live on a set designed to replicate the closed space of a squash court.

Betrogen

Nevertheless, at least two attempts have been made in recent times to do just that. The play, of course, is Harold Pinter’s 1978 masterpiece ‘Betrayal’ in which Emma betrays her husband, Robert, a publisher, by conducting a seven-year affair with his best friend, Jerry, a literary agent.

Betrogen

2011’s Berlin Renaissance Theatre production of the play (‘Betrogen’) used a German translation of Pinter’s text by Heinrich-Maria Ledig Rowohlt and a modular ‘glass court’ stage set. In his review, theatre critic Andrew Haydon observes:

“… the entire play turns out to be set in a squash court. The glass fourth wall does gradually recede throughout the actio, which, at least, has the effect of situating each scene in a different space, even if they are all white with a red line running round them about halfway up the wall. But even this hardly feels like an outrageous exercise in regietheater gone mad.

“The squash court is no doubt a cunning reference to one the famous motifs of Pinter’s text being Jerry and Robert […] repeatedly mentioning that they haven’t played squash together for years. Here the squash court surrounds them like an emblem of this failure, and a monument to the reason behind it.”

Betrayal

In 2017’s Derby Theatre production, director Lakan Lawal used a fixed ‘glass court’ stage set, the significance of which is initially missed by theatre critic Alfred Hickling in his review for ‘The Guardian’:

“Even more peculiarly, the action is encased within a rotating plastic box full of modish, transparent furniture. You can appreciate what Lawal and his designer Neil Irish are attempting to do here, since the play is written in reverse chronological order that first shows the end of the affair and eventually arrives at its beginning. But the backwards-spinning box comes with the unavoidable side-effects of isolated, artificial sound, while the walls – which could do with a wipe – heighten the impression that you might be glimpsing the action though grimy bus windows.”

Betrayal (Derby Theatre)

However, Hickling then recovers, suggesting:

“Or perhaps it’s all meant to be happening in one of those see-through courts in which competition squash matches are played. It’s a plausible solution, given that the play’s homoerotic subtext bubbles up in a speech celebrating the testosterone-rich rituals of racket sport (first the game, then the shower, then the pint – women not welcome). And what emerges most keenly from the performances, which are generally good, is what a vituperatively misogynistic play Betrayal can be.”

Sources

Thanks to the Berlin Renaissance Theatre website and the ‘Postcards from the Gods’ blog for reviews of ‘Betrogen’. Thanks to The Guardian and the ‘Behind The Arras’ website for reviews of ‘Betrayal’.

Trump Loves Squash – Official!

Millionaire UK political party donor Arron Banks has been forced to apologise to squash clubs throughout the world by US President Donald J. Trump, unnamed sources have claimed.

Arron Banks Apology Tweet

Banks had complained that the UK Independence Party was “being run like a squash club committee” implying that it was dedicated to promoting social interaction, public health and personal well-being through sports participation rather than peddling fake news and alternative facts to racist, misogynistic and gullible people. As part of a well-rehearsed and finely-nuanced statement, he had also accused UKIP’s sole MP, Douglas Carswell, of treachery in not doing enough to help former leader, Brexiteer and fellow millionaire Nigel Farage, get a knighthood. Later, asked to expand on his comments, Banks threatened to set up a rival political party that would “destroy” UKIP unless he was made party chairman.

Arron Banks, Donald Trump and Nigel Farage outside The Golden Squash Court in Trump Tower, New York

However, it has since emerged that news of Banks’s crie de coeur may subsequently have appeared in the Twitter feed of the billionaire US President. Outraged at the millionaire donor’s views on squash clubs, Trump is alleged to have alerted fellow sports enthusiast and rumoured squash buddy Farage, possibly urging him to take out Banks “with extreme prejudice”.

Within hours, Banks had issued an apology to “squash clubs across the UK” for his comments about the way in which they were being run, including how they elect committee members, welcome newcomers or plot with enemy powers. At the time of writing, however, it is not known whether President Trump, rumoured to be addressed as “Sir Donald” by members of his administration, regards Banks’s apology as sufficient as it does not apply to squash clubs either in the US or in Russia.

Sources

Thanks to The Daily Telegraph, The UK Bulletin, Leave EU Official, The BBC, Wikipedia, and Twitter.

Club Policy (2016) – Short Film

A couple serves up tragedy on the squash court when someone doesn’t abide by club policy.

Credits

A New Media Ltd Film

Written and Directed by Ryan Dickie and Abigail Horton

Assistant Director Ryan Gladstone

Produced by Corey Deckler and Paul Horton

Starring Meredith Hagner as Kelly and Jason Selvig as Don

Costume Design by Jami Villers

Production Design by Evan T. Schafer

Prosthetics by Izzi Galindo and Jackie Zbuska

****

Official Selection Fantastic Fest 2016

Official Selection Woodstock Film Festival 2016

 

 

High-Rise Squash (2015) – Film Review

High-Rise, directed by Ben Wheatley, is a 2015 British film based on J.G.Ballard’s 1975 dystopian science fiction novel. Starring Tom Hiddlestone and Jeremy Irons, it tells the story of doctor and medical school lecturer Robert Laing who moves into a new apartment on the 25th floor of a state-of-the-art high-rise building on the outskirts of London. The tower provides its well-established tenants with all the conveniences of modern life: a supermarket, a swimming pool, a school, a restaurant, high-speed lifts and, naturally, a squash court.

High-RiseHiddlestone plays the cool, detached Laing with Irons taking on the role of the even more detached Anthony Royal, the building’s architect who lives with his dissatisfied wife in a grandiose penthouse flat. Laing forms an uneasy friendship with Royal, based partly on their playing squash together (on a court with alarmingly blue walls) but also on their mutual regard of each other as being high-status gentlemen of distinction. As the story progresses, the building’s occupants gradually become disinterested in the outside world; then, as the buildings amenities degrade order breaks down leading to violence and murder. In one scene, Royal saves Laing’s life (he is about to be thrown over his own balcony into the car park) with the explanation “You can’t do that! He owes me a game of squash!”

Thankfully, in the squash scenes, both Hiddlestone and Irons do seem to have played the game before.

Although not necessarily on blue squash courts.

Sources

Thanks to Wikipedia for its entries on J.G.Ballard and his 1975 novel ‘High-Rise.’

Rockdale ’83 (2003) – Short Film

In 1980s Sydney, Keith and Alan share their hopes and dreams as they take  themselves to the limit in the game that made them men.

A celebration of the popularity of the great game of squash in 1980s suburban Australia. Bad hair, bad clothes, big egos.

The film picked up a few prizes on the Australian festival circuit including Best Film at the Bondi Short Film Festival and the Board Shorts Film Festival.

Credits

Directed and Produced by Mark Alston and Cameron Craig

Written by Mark Alston, Cameron Craig, Loosie Craig, Julia Salaverri

Starring Mark as Keith / Cameron as Alan

Edited by Cameron Craig

Camera by Loosie Craig, Mark Alston and Cameron Craig

Catering by Megan Alston

Costumes by Loosie Craig and Mark Alston

Special thanks to Campbell Barrie and Macquarie University Sports Association

Copyright 2cfilms 1984 and 2003

Squash And Love (2012) – Short Film

During a game of squash a man and a woman flirt. Their bodies brush, as they exchange a conspiring glance and smile. But will the game end as it began?

Credits

Squash And LoveCast: Carole Labouze (Joueuse) and Carl Laforêt (Jouer)

Cameraman: Bertrand Picault

Written and directed by Jean-Sébastien Bernard

Music by Eddy Benadjer and Jean-Sébastien Bernard

Produced by Les Films d’AntineA, Île-de-France, Paris, France.

 

 

Back Wall Boast (A Squash Play in One Act)

SCENE

The late-1990s. Somewhere in South East England. A squash club bar. It is a Thursday evening in late October. Outside, it is dark. The bar is furnished with a selection of tables and chairs, and a solitary pool table. The floor is covered with a carpet bearing a geometrical pattern consisting of interlocking orange, blue and cream figures. The walls are hung with framed photographs and posters. A trophy cabinet containing engraved silver cups and shields stands against the far wall. A jumble of sports bags and racket covers is piled by a coat-stand next to the bar entrance. Music can be heard emanating faintly from the tannoy.

Behind the bar, Ange Whittaker, a blonde-haired woman in her fifties is filling the sink with hot water. She is wearing a black-and-white print dress. Four men are seated around one of the tables drinking beer from straight glasses.

Jack Sugden, a white-haired man in his early seventies, is the Club Secretary and has been for over twenty years; he still plays in the Club’s internal leagues.

Graham Adams is the League Organiser. A policeman in his mid-forties, he is tall, has cropped fair hair and plays for the Club’s Men’s First Team in the county leagues.

Ron Tetlow is a member of the Squash Club Committee and helps to organise competitions and social events. He is in his mid-sixties and has retired from playing but is a marker at team fixtures. He is of medium build, balding and wears black-rimmed spectacles.

Andrew McGrath is a club member. He is tall and has receding ginger hair, pale skin and freckles. He plays in the Club’s internal leagues.

The men are sitting in silence.

Back Wall Boast Bar2Pause.

RON: Makes you think, doesn’t it?

He stares directly ahead of him, then takes a sip from his glass.

JACK: It certainly does, Ron. It certainly does.

Pause.

There’s no doubt about that.

RON: There but for the grace of God and so on.

JACK: True, true.

Pause.

RON: In the midst of life…

Pause.

I mean it was only last week he got a game off Terry.

GRAHAM: Did he? What, Terry Jackson?

RON: In the handicap.

Pause.

GRAHAM: Oh.

Pause.

Terry must have been giving him a few points then.

RON: Twenty-seven, I think.

GRAHAM: Right, right. Twenty-seven.

Pause.

Well he’d have to, wouldn’t he.

RON: Still, he must have played out of his skin to get a game off Terry.

Pause.

I mean how old is Terry? Forty-ish?

GRAHAM: I would have thought so.

RON: And Ernie must have been…

ANDREW: Sixty-two.

RON: No. Sixty-two? Was he?  

Pause.

I thought he was older than that.

Pause.

Still.

Behind the bar, ANGE is washing some glasses.

RON: He was looking forward to going on holiday.

JACK: Who? Terry?

RON: No, Ernie. With…you know…his missus…er…

ANDREW: Maureen.

RON: Is it?

Pause.

Yes, well.

JACK: Anywhere nice?

RON: Sounded Spanish I think…or it could have been Portuguese. I’m not that well up on place names, foreign countries, that sort of thing.

Pause.

I’ve been to France mind you.

JACK: Have you? What part?

RON: Now there’s a question. I’d have to ask the missus. She books everything, see.

Pause.

Or was it Belgium?

The group sits in silence.

Suddenly, the door swings open and GARETH Prosser enters. He is in his mid-forties, thick-set with black hair and sideburns. He is wearing a tweed cap, a light-coloured parka and a tartan scarf. He looks at the group, then at the bar, then back at the group.

GARETH: Christ! What’s wrong with you lot? It’s like a bloody morgue in here.

The members of the group turn around. ANGE starts crying.

JACK: You haven’t heard then?

GARETH: Heard what?

JACK: Ernie died last night.

GARETH: No! Ernie?

He takes his cap off. ANDREW stands up and walks to the bar, looking at GARETH. He lifts up the counter, goes behind the bar and puts his arm around ANGE.

We had a court booked for Tuesday.

GARETH walks over to the bar where ANGE is wiping her eyes with a handkerchief.

GARETH: Sorry, Ange, I didn’t realise.

He leans over the bar and touches her on the arm.

Pause.

Very insensitive of me.

Pause.

Pint of bitter when you’re ready, love. No hurry.

He takes off his parka and hangs it on the coat-stand with his scarf and cap.

Pause.

Accident was it?

He walks over to the group and sits down in Andrew’s chair.

RON: He dropped dead on court last night.

Behind the bar, ANGE starts crying again. She rests her head on ANDREW’s shoulder.

GARETH: No.

Pause.

Which court?

RON: Two. I was watching, wasn’t I. Dropped in to book a court, heard someone playing, went up to the balcony. Bob’s your uncle. There’s Ernie playing young Alan.

GARETH: League match, was it?

RON: Hell of a ding-dong. Ernie keeping it tight, lobbing. Alan running around like a blue-arsed fly, getting everything back. You know Alan.

GARETH: Only we’re…well we were all in the same league, like.

RON: Alan gets the first. Ernie levels it. Slows things down, you know, like he does…

Pause.

…did.

GARETH: Finishes a week on Sunday, doesn’t it Graham?

GRAHAM: What does?

GARETH: The league.

GRAHAM: That’s right. I’ll take the sheets down at six o’clock.

GARETH: Only I haven’t played all my matches yet.

RON looks at GARETH.

RON: Do you want to know what happened or not?

GARETH: Sorry, Ron. Go on.

RON: Alan gets the third. Ernie squares it at two-all. It’s nip and tuck in the fifth. Alan’s up, Ernie pegs him back, then Ernie’s up, then Alan squares it at nine all and Ernie calls ‘set one’!

He leans back in his chair, exhausted.

JACK: He must have been tired.

RON: They both looked buggered, Jack. Absolutely buggered. That’s when it happened.

RON looks towards the bar where ANDREW is chatting with ANGE. He is helping her with the washing up. He lowers his voice and leans forward in his chair.

Alan only goes and serves out, doesn’t he, so Ernie’s got match ball. He puts up one of his lob serves and moves to the T. Alan volleys it back cross-court. It whistles past Ernie on the forehand and bounces up onto the back wall. Ernie turns round and dives towards it, swinging through with his racket.

Pause.

Then he hits the floor and doesn’t move.

He leans back in his chair.

Pause.

GARETH: So Alan won then?

RON: What?

GARETH: Well it’s a walk-over isn’t it? Ernie can’t play on.

RON: No, no, no. Ernie won the match.

GARETH: How do you work that out then?

RON: You didn’t let me finish, did you?

He leans forward again.

On his way down, Ernie gets his racket to the ball and lifts it hard onto the back wall. It loops up towards the front wall, drops, brushes it and bounces twice. Dead.

Pause.

Alan doesn’t get anywhere near it.

RON leans back in his chair.

GARETH: A back wall boast you mean?

RON: Ernie’s signature shot. I’ve seen it get him out of trouble more times than I care to remember.

JACK: What a way to go, eh?

RON: You couldn’t make it up.

Pause.

GARETH: So you’re telling me that somebody who’s dead can win a rally?

RON: Well obviously he was alive when he hit the ball.

GARETH: Yes, but…

GRAHAM: The point is, Gareth, it wouldn’t have made any difference whether Ernie was dead before or after the ball was. Alan couldn’t get to it and Ernie wasn’t obstructing him.

RON: Neither of them was bleeding or injured either…

GRAHAM: …so there wasn’t any reason for them to stop playing, was there, let alone agree a walk-over.

Pause.

GARETH: But…

GRAHAM: Look, there’s nothing in the rules that says that a player has to be alive when they win a rally, or a point. They don’t even say that matches have to be between two players who are actually alive…

RON: …or that they have to remain alive for the entire duration of the match.

Pause.

GRAHAM: I’ve checked.

The group sits in silence. ANDREW comes out from behind the bar and walks over to the coat-stand.

GARETH: Anyway, nobody’s put the score down.

GRAHAM: What?

GARETH: On the score-sheet. I had a look just now.

Pause.

JACK: I suppose Alan was too upset.

Pause.

GRAHAM: I’m not surprised.

Pause.

RON: His girlfriend was hysterical.

The rest of the group look at RON.

JACK: Who?

RON: His girlfriend. That redhead with the…

JACK: You mean Samantha? Ernie’s daughter? You never said.

RON: Is she? Well I didn’t know, did I. I’m no good with names.

GRAHAM: …foreign countries, places…

JACK: So she was there then?

RON: It must have slipped my mind. What with all the confusion. You know…ambulance…police…looking for the first-aid box…

Pause.

GRAHAM: What’s it like being you, Ron?

Pause.

RON: Anyway, Ange looked after her, didn’t you Ange?

ANGE: Yes.

She dries a glass and places it on a shelf behind the bar.

ANDREW puts on his coat and scarf. He picks up his sports bag and walks to the door.

ANDREW: Well, I’d best be off. ‘Night all.

He opens the door and leaves the bar.

ALL: ‘Night, Andrew.

Pause.

GRAHAM: So where does that leave your league then, Gareth?

GARETH takes a pen from his inside pocket and starts writing on a beer-mat.

GARETH: Right, let’s see. Well, Ernie’s got twenty-one, Alan’s got…nineteen, Andrew’s got…er…seventeen…

He mutters to himself as he calculates each player’s points.

…I’ve got eleven and Mike’s got…er…four.

GRAHAM: So you’re telling me that the promotion spots in your league are currently occupied by someone who’s dead and someone who’s lost to him?

GARETH: Well, at the moment, yes.

RON: So Ernie could go up then?

GRAHAM: Don’t be stupid, Ron.

GARETH: It could all change of course. Andrew’s still got to play Alan. Both of them could overtake Ernie.

Pause.

GRAHAM: As league organiser, Gareth, I can assure you that Ernie will not be promoted. Under any circumstances.

Pause.

GARETH: So that means I should go up then.

GRAHAM: How do you work that out?

GARETH: Well Andrew’s not playing in the next round of the league.

Pause.

He’s withdrawn, hasn’t he.

GRAHAM: How do you know? No, don’t tell me. He’s written it on the score-sheet.

GARETH: Exactly.

Pause.

RON: I wonder why that is? He never said anything.

JACK: Probably upset about Ernie, I shouldn’t wonder. Great friends they were. He used to go round there a lot you know.

Pause.

RON: Now you mention it I have seen him coming out of Ernie’s house. Yes. All hours of the day and night. While I’ve been passing, like.

GRAHAM: Yes, yes. Him and Ernie go way back.

Pause.

JACK: And Maureen.

Pause.

RON: Yes. That’ll be it. Maybe he feels he’d be a bit uncomfortable. You know, being around when Ernie’s not…around.

Pause.

GRAHAM: And Maureen’s on her own.

RON: Yes, yes.

Pause.

I could ask him, I suppose, but…

ANGE: Oh, for Christ’s sake, he’s going on holiday!

The group turns to look at ANGE who is staring at them from behind the bar.

JACK: Oh, is he? Anywhere nice?

ANGE: Yes.

Pause.

Benidorm!

LIGHTS

Acknowledgements

I got the idea for ‘Back Wall Boast’ from a UK television play broadcast in 1987. It was called ‘The Clinger’ and was set in a squash club somewhere in England. The play was one of a series of dramas entitled Love and Marriage. Taking place over a single evening, it traced the fortunes of Alan (Richard Hope) in his attempts to impress fellow club member Samantha (Sallyanne Law).

Running through The Clinger were a number of humorous story-lines dealing with the petty politics of squash club life including the point scoring rules for the internal leagues. These, of course, come sharply into focus following the dramatic conclusion of Alan and Ernie’s match.

You can find out more about ‘The Clinger’ here.

Brian Clough’s Squash Racket

Genius? Eccentric? Maverick?

Whatever qualities he might previously have attributed to his coach, one leading squash player must have sensed that he shared at least some characteristics with another famous Yorkshire-born sports coach. “Dad’s the Brian Clough of squash,” said World Number 1, James Willstrop just before the London Olympics.

James and Malcolm Willstrop

James and Malcolm Willstrop

Whether this disclosure came as a surprise to Malcolm Willstrop is unknown. When Clough was in his heyday as a manager in the 1970s, Willstrop junior had not even been born. But Willstrop senior would certainly have been aware of Clough’s achievements, not just as a manager but as a player whose career was tragically cut short by injury. He would also have been aware of his outspokenness, arrogance and lack of respect for authority.

And, although it was rarely mentioned in the mainstream media of the time, he may even have been aware of Clough’s attachment to something which embodied another of his sporting passions. 

His squash racket.

Clough the Footballer

“Beckham? His wife can’t sing and his barber can’t cut hair.” (Brian Clough)

The sixth of nine children, Clough was born in 1935 in Middlesbrough in the North Riding of Yorkshire. Following national service in the Royal Air Force from 1953 to 1955, he joined his home town club, Middlesbrough, scoring 204 goals in 222 league matches including 40 or more goals in four consecutive seasons. However, he was also prone to submitting transfer requests on a regular basis and had a tense relationship with some of his fellow players. He was especially irked by Boro’s leaky defence, which conceded goals as regularly as he scored them. After a 6–6 draw against Charlton Athletic, Clough sarcastically asked his team mates how many goals he would have to score in order for them to win a match.

Brian Clough, Trevor Francis and Squash Racket

Brian Clough, Trevor Francis and Squash Racket

While playing for Boro, Clough was capped twice for the England national team,failing to score on either occasion. Eventually, in July 1961, one of his transfer requests was finally accepted and he moved to Boro’s local rivals Sunderland where he scored 63 goals in 74 matches. Clough’s goal-scoring powers were showing no signs of declining.

But on Boxing Day 1962, disaster struck. Clough tore the medial and cruciate ligaments in his knee in a match against Bury, an injury which, in that era, usually ended a player’s career. Despite an attempted comeback two years later, Clough was forced to retire at the age of 29.

Even today, for players scoring over 200 goals in the English leagues, Clough holds the record for the highest number of goals scored per game (0.916).

But, with his playing career ended, Clough was not prepared to turn his back on football, or controversy.

Clough the Manager

“I wouldn’t say I was the best manager in the business. But I was in the top one.” (Brian Clough)

The story of Clough’s career in football management is an epic story punctuated not only with successful domestic and European campaigns, but also with controversies, clashes and  fallings out on a heroic scale.

That career started in 1965 with Hartlepool United and finally ended in 1993 with the relegation of his club, Nottingham Forest, from the English Premier League. Clough had won consecutive European Cups with Forest and League Championships with both Forest and Derby County.

Brian Clough Playing for Sunderland

Brian Clough Playing for Sunderland

But it was in the 1970s that Clough’s managerial career was in the ascendancy, first with Derby County and then, after a tempestuous 44-day reign at Leeds United, with Nottingham Forest.

Clough and the Racket

“We talk about it for twenty minutes and then we decide I was right.” (Brian Clough on dealing with a player who disagrees with him.)

It was during his time with Forest that Clough’s squash racket began to appear in an increasing variety of contexts.

Following his forced retirement as a player, Clough had kept himself fit, taking part in five-a-side games during training sessions and, until the early 1980s, playing squash. During his 18 year stint at Nottingham Forest, he played on the courts at Trent Bridge Cricket Ground, a short walk from Forest’s stadium at the City Ground. His squash partners included Forest players, notably striker Garry Birtles, and members of the local press who routinely covered Forest’s home and away matches.  

But his attachment to his squash racket was not limited to his use of it on the squash court.

Intimidating Football Agents

Having been approached to join Nottingham Forest, England goalkeeper Peter Shilton recalls:

“I discovered how unconventional Clough was when my agents Jon Holmes, Jeff Pointon and I went to see him in his office at the City Ground in September 1977, after Forest had made an official approach to Stoke City for me. We hung outside his office for 10 minutes or so before someone informed us, ‘Mr Clough is ready to see you now.’ Jon and Jeff went in first and I was slack-jawed to see them both go sprawling across the floor. Clough had been hiding to one side of the door and as they entered he had angled a squash racket across their path and tripped them both up. I have no idea if he did this to gain some sort of psychological advantage in the negotiations or whether it was just a prank. It certainly threw Jon and Jeff.”

Orchestrating the Unveiling of England’s First £1M Footballer

Joining Nottingham Forest from Birmingham City, striker Trevor Francis found himself waiting in Clough’s office well after the appointed time for his unveiling to the press. “It turned out that he had another engagement,” said Francis later. “He was playing squash over the road at Trent Bridge.” When Clough finally arrived, he was wearing a tracksuit and carrying his squash racket.

During the ensuing press conference, Francis was asked, “When will you be making your debut for Nottingham Forest?” Gesturing at himself with his racket, Clough replied, “When I pick him.”

Supervising Youth Team Training with his Dog

Nottingham Forest Youth Team player Sean Dyche recalls:

“The boss used to travel on the coach for FA Youth Cup games and loved the reserves, but on the training ground he let the coaches coach. He’d come down with his dog and his squash racket and his squash ball. He’d whack that around for the dog and stand at a distance, but every now and then, he’d notice something and you’d hear his voice across the training ground.”

Over the years, the racket clearly acquired a life of its own.

Touting for Squash Matches in Europe

Former Nottingham Evening Post Sports Editor Trevor Frecknall travelled throughout Europe with Forest reporting on their European Cup ties. He recalls that Clough always took his squash racket abroad on the off-chance that he could get a game should there be a court in the vicinity. The racket would also make regular appearances in the club’s hotel, at training sessions and even in the dug-out during matches.

And it also had another function…

Signalling the Need for Tactical Changes

Watching one first team training session before a European Cup away tie, Frecknall observed another use of the racket:

“On the third or maybe fourth occasion the fluency of the kick-about was interrupted by the ball disappearing into a mass of hardy shrubs, Clough raised his squash racket as the signal for the on-field trainer to blow his whistle and halt play.

Archie Gemmill

Archie Gemmill

Each time the ball had left the pitch, it was because Archie Gemmill’s passes were just too far in front of John Robertson on the left wing.

“Mr Gemmill,” Clough beckoned.

“Yes boss,” responded the little Scotland midfield player.

“I bought you to give the ball to Mr Robertson,” drawled Clough.

“Yes boss,” agreed Gemmill.

“As you’ll have noticed, Mr Robertson is a rather corpulent young gentleman with short legs that do not move as fast as some others in the club.”

John Robertson

John Robertson

“Yes boss.”

“So your job is to pass the ball to Mr Robertson’s feet,” Clough continued.

“Yes boss.”

“You’re sure you can still do that, aren’t you?”

“Yes boss.”

“Good, because if you can’t, we can easily leave you here and find somebody else who can give Mr Robertson the ball where he wants it.”

“Yes boss.”

“So long as we’re clear…”

“Yes boss.”

Clough the Legend

“When I go, God’s going to have to give up his favourite chair.” (Brian Clough)

Brian Clough died in 2004, two years before the appearance of ‘The Damned Utd’, a novel by British writer David Peace. The book, a largely fictional account of Clough’s 44 days as manager of Leeds United, re-ignited public interest in Clough’s career and his life. It was commercially successful but widely criticised by Clough’s family and former colleagues as being both inaccurate and unrepresentative of the man himself.

The Damned United poster

The Damned United poster

Three years later a film adaptation of the novel, ‘The Damned United’ appeared, directed by Tom Hooper and starring Michael Sheen as Clough. The film was generally well-received by critics but was again met with a chorus of disapproval from Clough’s family.

Yet the place of Clough in the pantheon of flawed British sports heroes remains secure, the realities of his life and times interwoven with stories of what he may, or may not, have done or represented.

So whatever James Willstrop’s may believe about his dad’s qualities, he can rest assured that one thing about Clough and his life is undisputed.

The man loved his squash racket.

Acknowledgements

Thanks to Wikipedia for background information on Brian Clough, David Peace’s novel ‘The Damned Utd’ and Tom Hooper’s film ‘The Damned United.’ Also thanks to The Guardian for its article on James Willstrop, and The Daily Telegraph for its article on Peter Shilton.

Thanks too, to The Daily Mail for its articles on Trevor Francis and Sean Dyke. You can read Trevor Frecknall’s recollections of Brian Clough in The Nottingham Post here, and find out more about playing squash at Trent Bridge Cricket Club here.