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The documentary is the new reality Salt and Star Wars (2 in 1). (Probably due to the desperate evasion of Hollywood’s fictional heroes. Or because of that. But let’s not ruin this beautiful night.)
Sports!
The Pulp Fiction documentary, Tiger King, seemed like Netflix’s unsurpassed quarantine blockbuster until the channel (or what it is: “streaming service provider”) allowed Michael Jordan and the latest ten-hour documentary to their last championship title will reach the big cats. Last Dance, which all basketball fans have released as expected. It quickly became apparent that Michael Jordan is also documentary film and television karate Michael Jordan, who does anything: unbeatable. It is definitely the most watched sports documentary of all time, and its latest figures have already undermined the Tiger King. Netflix and ESPN have found it.
They weren’t left to chance: Although the 500-hour footage shot in 1997-98 was hired to shoot in 2016, the Supreme Rights Owner agreed, and even generously agreed to give an interview (three immediately!) To the crew. , and famous for not loving wasting his precious time, earning as much as a mid-size Transdanubian settlement in a month, it’s really hard to get him to act like this. (It was in the media around the movie that he found out that he had smoothly given up hundreds of millions of dollars in the past because he didn’t feel like doing antics.)
The show was scheduled for the summer, but the virus intervened. This year’s season of the US Basketball Championship. USA It faded on March 11, presenting to all professional leagues, the world’s largest sports business. The world’s most affordable sports fan plays at home with no games. The producers didn’t need a better opportunity than that, they stopped and came out on April 19 with the first two parts. (In the United States, there are two episodes on Sunday nights; it is already Monday in Hungary. So far, six parts have taken place, now they will be 7-8 on Monday and the last two in a week. Then there will definitely be one o two surprises: werkfilm, how he made the werkfilm, bakiparade on the werkfilm werkfilm, cartoon version, musical. Following the golden rule of the modern film industry: as long as the story moves, you have to hit. Jordan’s story has been moving quite a bit for 36 years).
The calculation arrived: the audience is stratospheric, the impact on the media is mesospheric: the entire American sports press (and there it is) deals with Last Dance, because what else could it do? Also, the Hungarian basketball media has no choice but to chew on the podcasts and YouTube channels of Balázs Tőrös and Csaba Szaniszló for weeks, and almost everyone dealing with the NBA. Of course, Korné Dávid also appears in Tőrös, who almost fit this ‘98 outfit, was there at summer training camp, he could even stay in one of the cut pictures. End of the Hungarian side thread. Go back abroad.
There are interviews from Phil Jackson, Pippen, Rodman, Kukoc and even Scott Burrell, Isiah Thomas, Bill Laimbeer and the American sports media seem to be in 1997 (’96 / ’95 / In ’91).
Professionalism in professionalism
Last Dance’s story is trivial: Michael Jordan’s final league season at the Chicago Bulls. The best basketball player of all time, on the best team of all time, at the age of 35, after five league titles, a retirement and a comeback, he runs for the season with manager Jerry Krause declaring beginning of the year: this is the last one, more if you win every game, then fire coach Phil Jackson; And Michael Jordan declares that he is only willing to play on Jackson’s team, if Jackson leaves, he will also go. Meanwhile, the team’s number two player, the catastrophically underpaid Scottie Pippen, is also in serious conflict with Krause and says he will never play in the Bulls again, earning him so far five leagues. (Then he changes his mind later and picks up the sixth).
The first two parts really unfold this thread of the story – that is, the tensions within the team, the blatantly low salary of Scottie Pippen (the team’s second-best player) and the deteriorating relationship between manager and coach.
Last Dance, however, stars Michael Jordan. That’s enough. Where it appears, no one else can be the protagonist, obviously. It has been the main character for decades. Furthermore, he is no longer a protagonist, but a protagonist, a meta-protagonist, a heroic Olympic titanic heroic god who is enthroned on the pedestal of the pedestal, almost floating above the story while the others fight there. Of course, every NBA fan in the world could feel that way because it’s almost impossible to tell them something new about Jordan. So of course Last Dance can’t say anything new either. Add anything to the character drawing. Everyone already knows everything from dozens of books, movies, newspaper articles, publications, tens of thousands of videos. Here, however, we see some images you’ve never seen before, from Jordan, who was growling at a security guard with Soltész Rezs’ hair and suit, to Jordan, who was terrorizing his teammates in training, Jordan, who was black on the plane. But these are just illustrations. What is clear in these images has been known for a long time: the most perfect basketball player in the world is a determined, ruthless figure and, generally, difficult to bear.
Last Dance actually uses very little of the vast amount of footage that was filmed in Chicago’s last season, ’97 -98. It is evident that the creation of the last definitive cinematographic monument of the God of the Megaperfectionist Basket was entrusted to the most professional professionals. This infinite professionalism can be felt in the pleasant and precise rhythm that can be taught in the masterclasses at the dramaturgy schools, in a highly structured story that runs in sub-peaks every quarter of an hour and, of course, confidently avoiding any unexpected, brave or bold solution. (The effect, of course: People love the movie based on the results of all kinds of viewers, online ratings, and polls.)
Last Dance does not investigate, it does not go very far, at least it does not go mögébbas far as the contemporary American sports press went; it just tells the story of the Jordan Bulls at a very good pace, very well. There is no feeling in it. Critics of The Guardian frankly call it “long-form brand content” and say there are no signs of journalistic performance in the series. Maybe you’re asking for a genre in the movie that wasn’t even the target, the creators couldn’t be the target. And it couldn’t have been the goal of Michael Jordan himself, who owns the rights to all the video footage taken in ’97 -98, so he could have done about a movie he liked. The Last Dance genre is not an investigative report, but a massive entertainment monument: pedestal, throne,
titánhősistenhérosz,
All previous. In that cousin. It’s like the year-end Telesport Olympic gold compilation, slow fencing fencers, floats floating on dice, with a national colored flag in the background with 20 percent opacity. It is much more expensive and professional.
Another side thread about professionalism. Hungarian. Recently, I met a Hungarian film professional with a small basketball buffet: director Ferenc Török (Moszkva tér, Szezon, 1945, etc.). He talked about Last Dance for a quarter of an hour. How it’s built … that they can amass ten hours of this asshole story so that he, who has never been a black belt NBA fan in his life, can’t wait until next Monday … and he’s not even willing to chew games because he is excited I want … Izgul too. (Deflector: Jordan bends over.)
So, the creators of Last Dance started with Adam, Eve, building the whole Jordan-Bulls story nicely, telling the story of Han Solo-Rodman, an eccentric, morally unstable and outgoing fellow who came out of thirst (much shorter Jordan’s, of course, but he had no sense of lack.) Because Dennis Rodman’s life was documented in almost as much detail as that of the Emperor himself), they were told even more briefly about Pippen (it might have been, but it turned out that he simply didn’t have an interesting enough style, but rather a second violinist). perfect). Toni Kukoc hardly receives a few prayers, although she would have asked me. (Maybe in the end. After all, the last two games against Utah will be his big play, maybe even the seventh game of the conference final.)
They also build the correct main evil very well for each part, which the hero defeats at the cost of serious sacrifices. I mean, the real professionals have worked with the truest snapshots of American movies.
The ideal evil
The protagonist of the first two parts (and probably the entire ten-hour series) is Jerry Krause, the manager. God also created him as the main villain: a short, ugly, fat, suffocating and cunning machinist among two-meter sports heroes, elaborately muscular, simple and straight. If he were still alive, he would have a chance to convey the evil of the next Bond movie.
Krause wanted to blow up the team to show that it wasn’t Coach Jackson and Jordan who was the real genius, it was he who brought the Bulls together, that’s what Last Dance shows. It really isn’t inconceivable that Krause had that much motivation. Perhaps that is why his relationship with his own discoverer, Phil Jackson, deteriorated. It could have been frustrating that almost every key person on the team had become a legend in basketball history, with owner Jerry Reinsdorf and a billionaire, only he was left out of the tuti. (She wasn’t miserable, obviously, either, but maybe she really received less recognition than she deserved.)
It is very difficult to capture the scale with which Jordan’s team has contributed to the development of basketball. And it’s even harder to determine what the Chicago Bulls or even Jordan personally deserve, and what league, league chief David Stern says, his brilliant strategy and what luck, favorable conditions say. The development of the media (first all-inclusive satellite TVs, then the Internet), with royalties flying through the skies. Or, looking further, to what extent the global Jordan-Bulls-NBA phenomenon was helped by another advance in American popular culture after the end of the Cold War, the happily accelerated globalization of the 1990s. (And vice versa. Or vice versa: vice versa).
The NBA has become a multi-billion dollar global business under Jordan-Bulls. And not just the NBA, but some attached stores like Nike could tell a lot about it (they say a lot in the movie, too, but not a lot) about the role Michael’s “Air” legend Jordan played in creating the company. . Their income has multiplied by 39 since 1985. They made a great deal of business even with Jordan taking a total of $ 1.3 billion (!!!) from the sporting goods maker in 36 years. Not a million billion. Dollars.
There could also be plenty of numbers on how much the NBA has grown, but I quote just one typical figure: Jerry Reinsdorf, owner of the Chicago Bulls, bought a major stake in the club in 1985 for $ 9 million. Today, the Bulls are worth around $ 3.5 billion and Reinsdorf is 40 percent. An increase of approximately 150 times in value.
As one of the blacksmiths of such colossal success, Krause could easily have thought that he had received less than he deserved. Unfortunately, he is no longer alive, he cannot explain what he thought in 1997.
The American sports press, which evaluated Last Dance, was quite unanimous in saying that the film made the director a bit one-sided. Krause was a talent scout with quite exceptional ability. Although Michael Jordan was not discovered (he took over the team only a year after Jordan’s arrival), he was the one who immediately signed Tex Winter, one of the best basketball strategies of all time, for the 11-league triangular attack. (6 Bulls, 5 Lakers) (Triple offense or triangular offense for short), who was then 63 in 1985 and was thinking of retiring after a very successful university, but completely unsuccessful and with a short professional career as a coach, Krause finally persuaded him to leave. Bulls assistant coach: 11 NBA wins and Hall of Fame membership came to an end. And it was also Jerry Krause who, as early as 1967, saw himself as a slightly angular but very nimble basketball player from North Dakota – his name was Phil Jackson. He brought him to the Bulls in 1987, also as an assistant, under head coach Doug Collins.
In 1987-88, Krause also noted that Doug Collins did not listen much to Tex Winter and focused the offensive play too much on Michael Jordan. Anyway, it’s pretty understandable: Jordan was already the best player in the NBA at the time, with game averages of 35-37 points per season, earning the regular-season MVP title, the old unfortunate Gray Bulls began to promote to the league’s elite. Most coaches in a situation like this would probably play their team with the same tactics as Collins: hit Michael and then run to the corners, get out of the way!
Krause understood that with the Collins system, the Bulls couldn’t make it to the top, and he led the head coach despite the fact that Chicago had improved from season to season, and Michael Jordan was particularly fond of Collins and gave Welcoming his successor, Phil Jackson, who was a more varied and sophisticated Tex Winter, began to force his attack game, which better involved his teammates, giving Jordan fewer balls. And Jordan is not the type to use something like that well.
But Krause chose Pippen and Horace Grant from the 1987 drafts, put together the Cartwright-Oakley exchange, and later found Toni Kukoc (who was sucked into Jordan by his gratitude, started at the 92nd Barcelona Olympics before Kukoc arrived in Chicago, but still In the Bulls, it was after ’94, this conflict is fully discussed by Last Dance, but in the end it will also turn out that without the left-handed genius of Split, the Bulls could not have won in 1998).
Bad Boys Blue
In addition to Krause, there are also small main evils or algonos (level bosses) per episode: the Detroit Pistons, the New York Knicks, or simply Jordan himself, who can be both a negative and positive protagonist at the same time for the Good Jordan may eventually defeat Bad Jordan.
Thoroughly satanizing the 89 and 90 Pistons champions, called Bad Boys because of their brutal playing style, is a good idea for me in private. I saw the NBA Finals for the first time in my life in 1990: we played in a tournament in West Berlin with my team from NBK county in Budaörs to NBII. The wall had fallen, but only four months later, in October, the two Berliners officially joined. It was then that the end of the 90s was gone, and after a night of beer (we were still able to get a brand from East Germany, and we were already switching to the West one by two: we had more money for beer than it would have been justified) and after a few billiards when the host a two meter German boy smoked half a bus ticket to a club in Kreuzberg next to the Görlitzer Bahnhof decorated with some crested punks (of which he tossed us about twenty the next day with no problems ), so we sat in the boy’s hash rental apartment to watch one of the final Pistons-Portland games squatting with the latest boxed Beckks, and I just remember that we practically hated Bill Laimbeer and the whole gang in practically three seconds. The sneaky, insidious fight they did in place of basketball … Laimbeer has been the catchiest basketball of all time to me ever since. Anyway, going back to Last Dance: You didn’t even promise to be in this movie, or they didn’t even ask you (Jordan didn’t want to?), I don’t know. (Rick Mahorn and Isiah Thomas tell the Jordan Rule that they had a rule against Chicago: Take down Jordan before he could jump.) But the media interest in Last Dance, meaning Laimbeer, also found him and made a statement (ESPN- es, on Slam Online), in the same complicated and arrogant style that is his. Take care of your image. (He takes himself seriously, as does Jordan.) By the way, the American sports press also raised the issue of the Bad Boys Pistons by being a bit over-demonized in the movie. I don’t know Isiah Thomas could have been a great manager, and Joe Dumars wasn’t bad either, and I even had James “Buddha” Edwards (especially playing in the ’96 Bulls), but it’s hard to imagine it would have been a success story world. of professional basketball, if this team, which everyone outside Detroit’s administrative boundaries hated, would have dominated the NBA in the 1990s.
Two years after Detroit-Portland in Berlin, in 1992, it was already possible to watch the NBA Finals at home. We lived in a thirty square meter panel in Košice Square, the boy was born just a few weeks ago, three of them together in a small room and the other in my grandmother. But there was DSF, a German sports channel, and he gave the final. I tried to stay as calm as humanly possible, but when a man has an experience called spiritual, because this man has been playing basketball, basketball since he was nine years old, and he was just putting away the bottles of water in NBII at the end of the bench as well that when this man finds something that he can barely perceive or understand with his senses and common sense, when he experiences something perfect, what is called beyond the senses, it is difficult to contain the scream. And when Michael Jordan smiled at the camera towards the end of the first half, shaking his head after his six triples, spreading his arms, “I can’t believe it”, he had to yell, but I almost cried for not knowing why, I swallowed loud, the boy woke up to the noise, of course he had to back away. He was a normal boy, he went back to sleep at midnight. Jordan threw 35 points in that half, a final NBA record. And thereafter, I stole USA Today from the foreign section of Népszabadság because it contained a complete statistics table for every NBA game.
For a hyperpersonal link, that would be enough for Jordan and Last Dance as well, but it still exists, and is as closely related to the theme of the movie as possible: the last game of Chicago’s final season. In 1998, I was able to broadcast the latest moves of this latest dance in Hungarian on Hungarian television. Sin was bad, I was an amateur commentator. György Baló was still the CEO of TV3, and when Gyula Horn and the Germans robbed him of the national frequency, he struggled for a time as a cable channel. It was then that he purchased TNT’s NBA broadcast package, likely through ties to the American owner. Baló was a huge fan of American sports anyway, it was his idea to comment, he was often at two at night when we started, sucking on the red Malbik in a row. Jenő Knézy Jr. and I pushed two seasons, if I remember correctly, ‘96 -97 and ‘97 -98, one game every two weeks, maybe, but my memory is pretty bad.
To be sure, the against98 final against Utah was the last one we mediated. It was also our last dance. (The next regular season, ’98 -99, didn’t start due to a dispute between the players and the owners, it only lasted a truncated season since the beginning of ’99, TV3’s money went without a frequency, and for the year 2000 was direct). We lobbied Chicago so that the Mormon community in Hungary could have full recourse to media authority.
Just as I have my first Jordan moment very abruptly, as a kind of basketball lighting, I also have a farewell. When, in the sixth game, twenty seconds before the end, with a Jazz lead of one point, Jordan knocks the ball out of Karl Malone’s hand at the baseline (otherwise, the defensive master, aware: Malone’s man Rodman, who defensively dazzles into the pass lane, leaves the baseline, which is usually a deer bug, but here’s a trick because he knows Jordan is there to call for help and Malone can’t see Jordan, does not expect to steal the ball from his right hand), so Jordan steals it, swells calmly, from left to right With his hands, he started in the middle behind the three-point line, pulls back and forth Left at the top of the penalty area, he sends Bryon Russell to a game (even pushes him a little with his forearm, but doesn’t hit him) and cuts the bomb at a clean pace of about five and a half years. With 5.1 seconds left, the Jazz comes from the side, you can throw one more: Stockon shoots a goalpost from the middle (although Rodman and Harper stab through the switch, after Malone’s easier and more secure block, Stockton could throw from a very good position if you bet, even a game is coming). He won by one and became the Bulls’ champion. The last dance is over.
(There was another parquet stain on Jordan’s edge in 2001-3, but it didn’t matter, it wasn’t serious.)
And there, I remember, we knew it was all over. That he is ready. There is no other place. I was sure Jordan would retire. Although the retirement was only announced in early 1999, before the truncated season began. But then no one was surprised.
No one should believe that Jerry retired due to Krause. But because that was the end of it. That was it. It is. Jordan knew exactly, even when the final was unleashed on June 14, 1998, in Salt Lake City. He was completely ready, dipping the batteries to zero. (Since he had to retire for a year and a half after the first three league titles. Then he said all kinds of things about it, but the memories of his teammates showed that he was already completely exhausted.) Krause was so generous that he portrayed him as the villain. For the sake of dramatic effect.
(Parts seven through eight are now on Monday on Netflix.)
Illustration: Kiss Bence
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