गोल! द ड्रीम बिगिन्स

Overwhelming under-dog story that has been done a hundred times and is definitely cliché-riddled, but I loved it nevertheless. "Goal!: The Journey Begins" is the first of a trilogy as a young Mexican illegal immigrant (Kuno Becker) in Los Angeles has a chance at the brass ring in England of all places playing soccer for one of their professional teams after being discovered by scout/former player Stephen Dillane. Tony Plana (always under-rated and excellent) is outstanding as Becker's cold father and Marcel Iures gives an incredible performance as the British team's head coach. Becker also unwittingly teaches a brash superstar (Alessandro Nivola) who has forgotten the real reasons why he plays soccer why the game is so important and also finds companionship in a strange land with beautiful nurse Anna Friel. Great cinematography and a wonderful score make for a very moving and entertaining experience as the film touches strong emotions of love, friendship, sacrifice and ultimate success against all odds. A bit long and not totally original, but still done well enough to be a winner that does accomplish its goal in the end. 4 stars out of 5.

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

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.

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.

In the mix of all sports movies, when a movie is made for soccer, the expectations of the audience, is a thousand fold. This is because most of the Soccer Movie goers are soccer (football) fans. Football fans are not so forgiving when it comes to the football scenes. This movie captures the scenes fantastically. It shows real football. The filmmaker knows football. The stars know football. The cameramen know football.

This is independent film-making at its best. It has the main plot which is the struggle of an athlete to achieve his dream. It has side plots which involve his relationships with his father, his new found girlfriend and his grandmother. His interactions with his brother and his teammates are great. But probably the most important event of his life has to do with the lucky break he gets when a former player turned scout sees him play. From there, the dream begins for the star of the movie and the audience as well.

This movie is highly recommended.