Goal! - Naissance d'un prodige

In 'Goal' Kuno Becker plays Santiago Munez, an illegal alien living in Los Angels. Despite his hardships, Santiago loves to play soccer. So much so, that he is really quite good. Good enough to get the notice of a former scout of Newcastle United. Santiago gets the opportunity to go to England and try out for this premier football team. But if he does not make it, he will not be able to return to Los Angels.

This is a heartwarming tale of one man's struggle to become something more. Despite the obstacles and the disapproval of his father (Tony Plana), he goes for the goal. Only to find that it is not going to be that easy after all.

I would say this film is 'Bend it Like Beckham' meets 'Gattaca'. Not that Santiago needs to meet any DNA tests, but he is in a world that is virtually unknown to him. He has to keep secrets about himself in order to fit in because most expect him to fail. Some will even try to make him fail.

This film is basically Rocky but with a football. It's a rags-to-riches tale of a promising Mexican youngster with nothing in life, apart from incredible footballing skills.

Some of the CGI football shots are poor, but the budget for this film was not massive, and they did what they could. The use of cameos from the likes of Shearer, Zidane, Beckham and Raul added to both the credibility and believability of the overall piece.

The film is sad and at times funny, and can be enjoyed by the whole family, including people with no interest in football. It's a story of triumph over adversity, and of people pulling together to help someone get ahead in life, by doing what they do best.

Overall, this is the best football film ever made, in my opinion. You can tell that the people who made it knew their subject matter - something that simply cannot be said for Green Street (Hooligans) which concentrated on fan violence, rather than the beautiful game.

This movie was tops! It's a great film pretty much anyone in your family could see and enjoy. The way it was released here in the States as a PG film with some scenes edited out, it's inoffensive enough. I've since gotten the DVD bootleg floating around here in New York and have seen the edited scenes. They really weren't necessary to make the film a good one (so you're not missing anything if you're only seeing the version released here in the States).

It was really nice to see less known actors in the roles. I'm personally sick and tired of the same little old crowd always getting parts in everything. It's a fantastic mixture when you can get an actor who is well known in Romania (Marcel Iures) but relatively unknown in the rest of the world and Kuno Becker (again known in Latin America but unknown to everyone else) and put them in a British film with a U.S. actor (Alessandro Nivola) along with British actors. Really clever, nice ethnic mix and an unusual one--less predictable than the usual casting that goes on out there--kinda opens the pool of actors that we're currently exposed to all the time.

A lot of people are complaining about the football (soccer) aspects of the movie saying that it's not real, etc. But I think they're failing to see that the movie is not about the sport itself (although I think there's a fair amount of that in there as well) as much as it is about the people who play it and some of the backstage politics that are linked with it. I thought these were shown tactfully and were just enough as they were coupled with the human factor --the lives of the players, their loves, their hates, competitive spirit, etc.

What was good about having a Latino as a protagonist in the film is that it shows the wider scope of fans football has. It is not only popular in Europe but in Latin America as well. The film could have easily gone down the eurocentric route of making the story about a European case, but this made it a bit more unusual and interesting. Since Santiago was an illegal immigrant who obviously took the great risk to come to the States and didn't really have much going for him here (as is the case for most illegal immigrants anyway and is becoming more and more true with the newer policies being undertaken here) his risk of going to England to try his luck there is completely plausible to me. I have actually seen similar things tried by other Latinos going to Europe to see if their luck is better there than here for obtaining residence, etc.

Some people may feel that the portrayal of the Latino family was stereotypical, but on the whole, I thought it was positive with the characters being honest and working hard for a living rather than being common hoodlums as they are sadly put forth in many films. Santiago was shown to be a modest young man who is not too full of himself and a generally likable character.

G-G-GOAL!!! I'm so pleased that there's finally a decent movie about soccer, a sport which for the longest time, doesn't seem to get movie producers excited to put out on screen. Having FIFA sanction this film means getting some realism injected, and lending to the authenticity of is the English Premier League club Newcastle United, together with a host of real life soccer superstars like Beckham, Zidane and Raul.

While the settings and the game results are real, we follow the fictional story of an illegal Mexican immigrant to Los Angeles, Santiago Munez, street footballer extrodinaire. He gets his lucky break when an ex-Newcastle United player turned scout, Glen Foy, chances upon his games, and invites him over to England for trials.

For a guy who's struggling to make ends meet, this presents the perfect opportunity to take a stab at his dream. But tension builds as his father disapproves and is skeptical at both the chance as well as his son's gift to make it big. So he leaves his real dad and family behind, to follow in the footsteps of Foy, his surrogate father in England.

The highlight of the movie is not the real football games that the actors get seamlessly transplanted onto, but rather the many trials and tribulations that Munez goes through to earn his rightful place in the squad. His disastrous first appearance almost made him take the first plane home, and I'd bet many in the audience thought it would be a breeze actually for him to make it to first team. Thankfully, the focus was on his sheer determination to overcome the lack of niceties towards newcomer rookies like himself, and the difficulties and temptations which fill his 30 days trial that Foy literally begged for.

What you read in the papers of the decadent lifestyle of footballers are all in here - the booze, the parties, the clubbing, the women, even video games (taking a stab at David James maybe?). Munez gets introduced to these by fellow teammate and cocky new German acquisition Gavin Harris, whose partying lifestyle takes a toll on his game, and becomes the Toon Army's boo-boy. It's fantastic how these two characters contrast each other, and help each other along the way.

For non-fans of the beautiful game, fear not, you're not gonna be alienated in this movie, as it doesn't sink into technicalities like the dreaded offside rule. You'll enjoy the movie simply because of the strong human drama weaved into the story, as well as the familiarity of easily identifiable themes of hard work, right ethics, living your dreams and fulfilling your aspirations.

Newcastle fans however, will rejoice, as the hallowed grounds of St James Park gets put on the silver screen. For fans without the opportunity of visiting their beloved club, they can gawk at the dressing room, the gym, the dugout, the pitch up close, the city neighbourhood, and "mingle" with fellow fanatical Geordies. Club captain Alan Shearer makes appearances too, as do the many other first team players. But the screen version of the club manager looks uncannily modelled after Arsenal's Arsene Wenger. Fans of Fulham, Chelsea and Liverpool can also see their heroes on screen as well.

Santiago Munez is played by a relative newcomer, Mexican actor Kuno Becker, who was put on real soccer training to improve his skills and make him look credible and natural with the ball at his feet. At certain angles with his short crop, he looks like Michael Owen, who now is playing for Newcastle (he wasn't when this movie was filmed).

I so dig the soundtrack, especially the guitar piece which opened the movie, and track from the trailer which also made its way into the movie - Kasabian's Club Foot, and various pieces by Brit-band Oasis. A pity it's only out in the stores on October 16 (based on Amazon), but I'll be there to pick it up when it hit the shelves.

The ending, even though it wrapped up all the pieces nicely, is a bit abrupt, but I guess it would lead directly into the planned sequels of a trilogy, which involve Real Madrid and the World Cup. This is one movie which can spark someone's interest in soccer, and I'd recommend it to both fans and non-fans alike. Don't let this movie dribble past you!

Until recently in history, whenever the world of film and the world of football combined, the results had often been negligible. With the GOAL! trilogy, a new precedent has been set for not only the genre, but also for the global sport itself, in terms of its plausibility in film towards its millions of demanding fans worldwide.

What this film does on the base level is to authentically present the game in high quality realism on the silver screen. However, that alone does not lend the film its credo. What makes it stand as the definitive standard bearer for films of football (given how every other sport especially American ones have managed to succeed filmwise- Bull Durham, Space Jam, Mighty Ducks, Remembering the Titans, etc) is that it carries many thematic layers on its back, pushes the frontiers of the genre with depth in the storyline, and finally aces in delivering a film that merges drama with sport, hype and overall verisimilitude in all content elements.

Obviously, every critic knows that the methodology of such a delivery is that it requires realism, and in cinematography especially- exactly what the film provides, and as a result gives it that definitive edge. Soccer films have never been entirely authentic, due to factors as diverse as action mapping, as well as dramatic scope. Furthermore, fans of the sport knew that nothing in cinema could ever approximate the sheer unscriptable drama of the actual game. Until GOAL! came along. When FIFA commissioned and granted the rights for the film to Danny Cannon, the air of realism was set in motion already, because albeit being fictional, it carries the authority of the universal game as fans know it because of its simulated parallels- real clubs, real superstars like Zidane, Raul, Shearer, etc, and realities of the game's actual hierarchies and bureaucracies have been surmised- reserves, leagues, scouts, agents and pressures.

AG Salomon/Adidas may have pumped advertising dollar into this film for placement of their teams (Newcastle United, Real Madrid) and sponsored players for marketing, but in a sense, when the result is this authentic, can you blame the corporations for input? In fact, fans might even have to thank them for producing what can be the first high profile and quality football film on record. Just recall the maudlin world of football film until the recent revival of films of the genre, which incidentally mirror the revolution of football and its branding that began in the 1990s and the likes of superstars like Beckham. In recent years, this revival has seen film entries usher in on the commercial success of football, from 1996's 'Fever Pitch' to 2002's Bend it like Beckham, but never has a film about the game itself been done the way it has been done here, in such centrality.

In fact, the very dearth of such films is an understatement and may well be the fuel for the GOAL! trilogy's impending success. Even football legend PELE alluded to the paucity of football films- or at least those of the simple concept explaining structures of wealth, class and the disparities of rich and poor in congruence with football. The plot by Butchart and Jeffries in this film stands out because of this - featuring the barrios of S.America; the institution of organized football religion in England, and a rag to riches drama, where Becker's character combines innocence and disappointments with success and 'aspiracion' in true underdog fantasy. The script is far from genius but it has depth- genuine troughs (poverty, death, rejection) and hurdles- competition, adaption and temptation (the clubbing scenes were almost a revealingly accurate précis given footballers' reputations in Europe). In fact, perhaps the only inaccurate part was about how Becker signed without a work permit and contract given he had to have been playing in at least 70% of all matches with his International side. Nonetheless, the film manages at the same time to convey the global scale of this billion dollar world obsession with the fantasy without compromising the sheer magnitude, and challenges of it all. Throw in all the other elements ranging from romance with Anna Friel's pragmatic nurse character to the gamut of football archetypes (Nivola as the playboy with conscience, Iures as the stoic gaffer, Dillane as the gentlemanly scout, the mercenary agents, an even a Souness-like hardman), on top of the fact that footage of actual matches in England has been seamlessly edited in, and you can see why the film accounts for a thorough representation of the sport. Perhaps even most exciting of all, the film shows behind the scenes footage of the teams and stars- training, grounds, gyms, dressing rooms, city streets, pubs, Toon Geordies.

How many people remember a football film that was done this way? More often than not football films have been towed by comedy or played side appendage to broader issues. From Thorold Dickinson's Arsenal Stadium Mystery (1939) about crime, to biopics like Yesterday's Hero (1979), or Gregory's Girl (1981) about gender, or even Eran Riklis's Cup Final (1991) about the PLO in war, most films have broader issues. The rest survive on humour, Mike Bassett (2001), being the typical example. GOAL! scores and sets the precedent for the genre from now on. In fact, there has been a rush of football films since, well accounted for at Cannes or the Berlinale festival, and probably well into World Cup 2006.

Films at Cannes included 'The Longest Penalty in the World' and "Romeo and Juliet Get Married" - a strained marriage between a Barcelona fan and a Real Madrid fan while Berlinale had 'Offside' an Iranian film. The market for soccer films has always been there, its just a case of whether filmmakers could break the deadlock with quality and authenticity, and GOAL! could well be the catalyst for the floodgates to open.

By Stephen Thanabalan