Every time that Vangelis score swells, you probably think of slow-motion running on a beach. St Andrews, Scotland, masquerading as Broadstairs. But for those of us who obsess over horology, the movie Chariots of Fire isn't just a sports flick about Eric Liddell and Harold Abrahams. It’s a masterclass in period-correct wristwear. It’s about the Chariots of Fire watch—or, more accurately, the watches that defined an era where timing wasn't a digital readout on a Garmin, but a mechanical heartbeat against the wrist.
Gold. Leather. Enamel.
In the 1920s, the world was transitioning. Men were moving away from pocket watches, which were considered "feminine" if worn on the wrist before World War I. Trench watches had changed the game. By the time 1924 rolled around—the year the film is set—the wristwatch was a symbol of the modern, fast-moving man.
The Mystery of Harold Abrahams’ Patek Philippe
If you’re looking for the definitive Chariots of Fire watch, you have to look at the 18k gold Patek Philippe cushion-shaped wristwatch that belonged to the real Harold Abrahams. It wasn't just a prop. The actual watch worn by the Olympic champion was auctioned by Christie’s years ago, and it tells a story much deeper than the film's script.
It was tiny by today’s standards. Maybe 28mm or 30mm. Honestly, most modern guys would think it’s a woman’s watch at first glance. But on Abrahams? It was pure class. This was a man who was obsessed with precision. He hired Sam Mussabini, a professional coach, which was basically "not done" in the amateur circles of the time. He needed a timepiece that reflected that surgical approach to the 100-meter dash.
The watch featured a silvered dial and black Arabic numerals. It had that distinct 1920s "cushion" case that Patek Philippe made famous. Interestingly, the film gets the vibe right, but collectors always nitpick the specific models shown on screen. Ben Cross, playing Abrahams, wears a piece that looks remarkably like the original, capturing that post-Edwardian transition into Art Deco.
Why the 1920s Shape Matters
You see, back then, circular watches were boring. They looked like pocket watches with lugs soldered on. The "cushion" or "tonneau" (barrel) shapes were where the innovation happened. They hugged the wrist. They fit under a stiff linen cuff.
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When you watch the scenes at Cambridge, notice the subtle glint under the tweed. That’s the aesthetic. It’s not about a "flex." It’s about a tool. For Abrahams, every second—every tenth of a second—was the difference between Olympic gold and being a footnote in British track history.
The Stopwatch: The Real Hero of the Track
We can't talk about a Chariots of Fire watch without talking about the hand-held mechanical stopwatches. In the 1920s, Heuer (before they were TAG Heuer) and Omega were the kings of the Olympic track.
There is a specific tension in the movie when Mussabini sits in his room, away from the stadium, waiting for the result. He holds a stopwatch. He’s timing the world in his head. In 1924, Omega was the official timekeeper of the Paris Games. They sent 30 high-precision chronographs to time the events. Imagine that. Only 30. Today, there are thousands of sensors and lasers. Back then, it was a guy with a thumb and a mechanical balance wheel beating at 18,000 vibrations per hour.
These stopwatches used "split-seconds" or rattrapante functions. It allowed timers to stop one hand to record a lap or a finish while the other kept running. It’s a complication that costs tens of thousands of dollars in a modern Patek or A. Lange & Söhne today, but back then, it was a rugged necessity for the dirt track.
Eric Liddell and the Humble Timepiece
While Abrahams was about the gold and the precision, Eric Liddell—the "Flying Scotsman"—was about the soul. Liddell’s horological presence in the film is much more understated. He wasn't the type for an 18k gold Patek.
Historically, Liddell was a man of deep faith and modest means. His "watch" was more likely a simple silver-cased trench-style watch or a basic civilian model from a British maker like Smiths or an imported Swiss movement in a Dennison case. The film portrays this contrast beautifully. Abrahams is the "professional" amateur with the high-end gear; Liddell is the natural talent with the simple tools.
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What Collectors Look For Today
If you’re trying to find a Chariots of Fire watch for your own collection, you aren't looking for a specific brand as much as a specific "look." Here is what defines that 1924 aesthetic:
- Fixed Lugs: In the early 20s, spring bars (the little pins that hold straps) weren't common. The lugs were solid metal bars. You had to sew the leather strap onto the watch.
- Enamel Dials: They don't fade. A 100-year-old enamel dial looks as white and crisp today as it did when Abrahams ran.
- Cathedral Hands: Those ornate, glowing (formerly radium) hands that look like stained-glass windows.
- Manual Wind: Obviously. If you aren't turning the crown every morning, it isn't period-correct.
The Vangelis Effect on Watch Design
It sounds weird, but the synth-heavy soundtrack by Vangelis actually changed how we perceive the 1920s. It bridged the gap between the "old world" of the movie and the "modern world" of 1981 when the film was released.
This had a weird side effect on watches. In the early 80s, after the movie came out, there was a brief resurgence in "Neo-Vintage" design. People wanted those cream dials and gold cases again. It moved the needle away from the chunky, steel divers of the 70s and back toward the elegance of the 20s.
The Actual Watch Worn by Ben Cross
In the production of the film, the prop department had to source pieces that wouldn't look out of place in high-definition (well, high-definition for 35mm film). While the exact prop watch's current location is a bit of a mystery in the prop-collecting world, it is widely accepted to be a period-correct Swiss lever movement watch, likely a Longines or a Zenith from the era.
Longines, in particular, has a massive history with the 1924 Olympics. They were the ones competing with Omega for the wrist of the athlete. A 1920s Longines Heritage model is probably the closest you can get to the screen-used "vibe" without spending $50,000 at a Sotheby’s auction.
Why We Still Care About a 100-Year-Old Aesthetic
Modern watches are too big. There, I said it.
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The Chariots of Fire watch reminds us that a 30mm watch can be masculine. It’s about the intensity of the man wearing it, not the weight of the steel on the wrist. When Abrahams stares at his watch before the final, he’s looking at his life's work measured in seconds.
There’s a rawness to it. No Bluetooth. No heart rate monitor. Just a mainspring and a dream.
How to Get the Look (Actionable Advice)
If you want to channel this specific era of horology, you don't need an Olympic budget.
- Search for "Cushion Case" Vintage: Look for 1920s-1930s Elgin, Waltham, or Bulova. These American brands were powerhouse makers during the era and are much more affordable than Patek Philippe.
- The Strap is Key: Buy a "trench watch" style strap or a simple, thin unstitched calfskin leather strap in cognac or dark brown. It should look thin, almost flimsy, compared to modern padded straps.
- Check the Dial: Avoid "redials" (watches where the face has been repainted). The charm of a 1920s watch is the patina. A little yellowing or "flecking" on the dial adds to the Chariots of Fire soul.
- Size Matters: Look for anything between 28mm and 34mm. It will feel tiny for three days. On the fourth day, every other watch you own will feel like a brick.
The real legacy of the Chariots of Fire watch isn't about luxury. It’s about the moment the world started moving faster than the human eye could track, and we needed these beautiful, ticking machines to keep up. Whether you're a runner or just someone who appreciates a well-tailored suit, that 1924 aesthetic is a reminder that some things—like a gold Patek or a well-run race—never actually go out of style.
To start your own collection, focus on the 1920s "Tonneau" shapes. Brands like Tissot and Longines currently offer "Heritage" editions that recreate these exact 1924 silhouettes with modern reliability. This allows you to capture the Abrahams aesthetic without the headache of 100-year-old mechanical failures. Focus on the 1924 Paris Olympic tie-ins specifically, as those models often feature the specific dial layouts seen in the film's iconic locker room scenes.