Second documentary produced by bosnian Emir Kusturica, after
Super 8 Stories, made in 2001, and in which the filmmaker paid tribute to the band that himself leads and takes all over the world spreading his gypsy-roots music. For this opportunity, and as evidenced by the title, the director will pay tribute to one of his biggest idols, known his fervent passion for football: Diego Armando Maradona. Kusturica had previously produced the beautiful drama
Life Is a Miracle (2004), the very irregular and incomprehensible
Promise me this (2007), and one year immediately after the latter mentioned film, produces the director this documentary, in which he revels sharing moments documenting the life of one of the biggest stars of football. Enjoys Emir shaping impressions and memories of the popular "Pelusa", his start from the humblest moments of his childhood, his rise and pass through various football clubs, Boca Juniors from Argentine, Italian Naples, Spanish Barcelona , and of course, their historical and imperishable historical goals to England with the national team of Argentina. He also collected comments of the soccer star, collecting views and wails, his foray into television, of course the scandal of drug addiction, among other things. Containing the documentary style with which the Bosnian had hovered in the previous documentary cited lines above, it is a nice sketch built by the Balkan of one the greatest icons of modern culture.
Interestingly, that commented documentary style is captured when from the beginning we see the Bosnian band in concert, and Kusturica presented as the
Maradona of cinema, and more than one segment will feel also impregnated with similar atmosphere to that documentary debut, paraphernalia deployed in that picture is quite similar, something certainly very natural by the way. In that sense, something of his particular and irreverent style, his singular mood is manifested, and perhaps were a little exagerated certain animations, cartoonish performances as a mockery of British royalty, the then Yankee ruler Bush, among others significant people; it is an element that gives some slapstick air to the documentary, but it is something that knowing the style of Kusturica, prone as it is to the excesses, in addition to his particular humor, and of course the obvious nature and guidelines of this work, that "slapstick air" is seen rather as something moderate. We observe an attractive retrospective to life of the famous "Pelusa", obviously an anthology of his best achievements in the football field, the inescapable drug-addiction theme, and his TV foray into the "The night of the 10" show. Archive photos in black and white will document the beginnings of Maradona when he was a child and giving touches to the ball, showing his skills and predicting his future glories.
We will see his beginnings in Fiorito, of course a visual compilation of his most brilliant goals in Argentina, Italy, Spain, and numerous replays of the moment when he touched the sky with his hands in the World Cup Mexico 86, the indelible goals to England,
hand of God and certainly
the goal of the century, repeated so many times as a goal of this caliber deserves. Being shot in 2005, it is also documented the time when Maradona returns to Naples, and of course the overflowingpassion he gets, a city, a football club where he is a living legend is portreyed. Maradona as well travels to Belgrade, to the Red Star club stadium, club of the former Yugoslavia, historical champion of the Champions League, a stadium where Diego played a game, and recreates memorable goals there. Kusturica, as football fan as all of his followers we know, has the honor to exchange touches and butting the ball with Diego Armando Maradona himself, a real enjoyment and pleasure for the giant Balkan filmmaker. Kusturica said that Maradona even talked to his sick mother, a woman who died the next day; Maradona was his last friend to talk to her, says the Bosnian. Emir actually goes to Buenos Aires, visits bars and brothels, and records too the excesses of Argentines with the Church of Maradona, where we even observe a couple contracting marriage, while they swear undying loyalty to the guidelines to that, if you can call, church and religion; we see the extremes to which "el Diego" is worshiped, is idolized and deified in his homeland, a worship that seems to know no limits.
Indeed the "Pelusa" is more than a celebrity, changing his usual position, Kusturica himself, a personality in his world, the world of cinema, compared to Maradona becomes another paparazzi. And despite the good vibes between them, that does not stop a sequence of Emir waiting for the prior world star outside his home, and getting snubbed because Diego is simply not in good mood. However, is noticeable that the author of the film feels genuine admiration for the man who is the subject of the documentary; Kusturica, coming from a violent land, historically very turbulent political and militarily, seemed to find an affinity in the revolutionary spirit of Diego, and the tremendous pitfall of idiomatic difference is minimized by a loyal translator. While Maradona speaks of the Falklands conflict between his nation and England, Kusturica interrupts the visual narration to insert images of war, probably to reinforce these words of former footballer. All the diverse characters from their environment appear, Evo Morales, Hugo Chavez, Fidel Castro, and of course Diego from the beginning, claiming that George Bush is rubbish, lamenting the lost time with their children because of the drug, everything lost by his addiction to cocaine. And that is a good thing for the film, having empathy, to talk directly with the former world star, generates a closeness that benefits the documentary, speaking Maradona of his pain, his drama, his history. It continues to draw attention the fact this is the latest film in nearly a decade of Kusturica, and despite this being an acceptable and digestible documentary,
Promise me this was a strange misstep for the Balkan, and that is his latest film so far. Manu Chao closes the picture singing
Life is a tombola to former football star, a decent job is closed, but the prolific and brilliance that Kusturica has always managed in past decades are still missed.
Second documentary produced by bosnian Emir Kusturica, after Super 8 Stories, made in 2001, and in which the filmmaker paid tribute to the band that himself leads and takes all over the world spreading his gypsy-roots music. For this opportunity, and as evidenced by the title, the director will pay tribute to one of his biggest idols, known his fervent passion for football: Diego Armando Maradona. Kusturica had previously produced the beautiful drama Life Is a Miracle (2004), the very irregular and incomprehensible Promise me this (2007), and one year immediately after the latter mentioned film, produces the director this documentary, in which he revels sharing moments documenting the life of one of the biggest stars of football. Enjoys Emir shaping impressions and memories of the popular "Pelusa", his start from the humblest moments of his childhood, his rise and pass through various football clubs, Boca Juniors from Argentine, Italian Naples, Spanish Barcelona , and of course, their historical and imperishable historical goals to England with the national team of Argentina. He also collected comments of the soccer star, collecting views and wails, his foray into television, of course the scandal of drug addiction, among other things. Containing the documentary style with which the Bosnian had hovered in the previous documentary cited lines above, it is a nice sketch built by the Balkan of one the greatest icons of modern culture.
Interestingly, that commented documentary style is captured when from the beginning we see the Bosnian band in concert, and Kusturica presented as the Maradona of cinema, and more than one segment will feel also impregnated with similar atmosphere to that documentary debut, paraphernalia deployed in that picture is quite similar, something certainly very natural by the way. In that sense, something of his particular and irreverent style, his singular mood is manifested, and perhaps were a little exagerated certain animations, cartoonish performances as a mockery of British royalty, the then Yankee ruler Bush, among others significant people; it is an element that gives some slapstick air to the documentary, but it is something that knowing the style of Kusturica, prone as it is to the excesses, in addition to his particular humor, and of course the obvious nature and guidelines of this work, that "slapstick air" is seen rather as something moderate. We observe an attractive retrospective to life of the famous "Pelusa", obviously an anthology of his best achievements in the football field, the inescapable drug-addiction theme, and his TV foray into the "The night of the 10" show. Archive photos in black and white will document the beginnings of Maradona when he was a child and giving touches to the ball, showing his skills and predicting his future glories.
We will see his beginnings in Fiorito, of course a visual compilation of his most brilliant goals in Argentina, Italy, Spain, and numerous replays of the moment when he touched the sky with his hands in the World Cup Mexico 86, the indelible goals to England, hand of God and certainly the goal of the century, repeated so many times as a goal of this caliber deserves. Being shot in 2005, it is also documented the time when Maradona returns to Naples, and of course the overflowingpassion he gets, a city, a football club where he is a living legend is portreyed. Maradona as well travels to Belgrade, to the Red Star club stadium, club of the former Yugoslavia, historical champion of the Champions League, a stadium where Diego played a game, and recreates memorable goals there. Kusturica, as football fan as all of his followers we know, has the honor to exchange touches and butting the ball with Diego Armando Maradona himself, a real enjoyment and pleasure for the giant Balkan filmmaker. Kusturica said that Maradona even talked to his sick mother, a woman who died the next day; Maradona was his last friend to talk to her, says the Bosnian. Emir actually goes to Buenos Aires, visits bars and brothels, and records too the excesses of Argentines with the Church of Maradona, where we even observe a couple contracting marriage, while they swear undying loyalty to the guidelines to that, if you can call, church and religion; we see the extremes to which "el Diego" is worshiped, is idolized and deified in his homeland, a worship that seems to know no limits.
Indeed the "Pelusa" is more than a celebrity, changing his usual position, Kusturica himself, a personality in his world, the world of cinema, compared to Maradona becomes another paparazzi. And despite the good vibes between them, that does not stop a sequence of Emir waiting for the prior world star outside his home, and getting snubbed because Diego is simply not in good mood. However, is noticeable that the author of the film feels genuine admiration for the man who is the subject of the documentary; Kusturica, coming from a violent land, historically very turbulent political and militarily, seemed to find an affinity in the revolutionary spirit of Diego, and the tremendous pitfall of idiomatic difference is minimized by a loyal translator. While Maradona speaks of the Falklands conflict between his nation and England, Kusturica interrupts the visual narration to insert images of war, probably to reinforce these words of former footballer. All the diverse characters from their environment appear, Evo Morales, Hugo Chavez, Fidel Castro, and of course Diego from the beginning, claiming that George Bush is rubbish, lamenting the lost time with their children because of the drug, everything lost by his addiction to cocaine. And that is a good thing for the film, having empathy, to talk directly with the former world star, generates a closeness that benefits the documentary, speaking Maradona of his pain, his drama, his history. It continues to draw attention the fact this is the latest film in nearly a decade of Kusturica, and despite this being an acceptable and digestible documentary, Promise me this was a strange misstep for the Balkan, and that is his latest film so far. Manu Chao closes the picture singing Life is a tombola to former football star, a decent job is closed, but the prolific and brilliance that Kusturica has always managed in past decades are still missed.
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