Ogni maledetta domenica

I don't intend to add to the many positive comments about this movie. I agree with them. But from another perspective:

First, I have never been a football fan. However, any movie that combines Oliver Stone and Al Pacino has to get my interests. I loved it.

One thing that did impress me more than anything else was the quality of the sound design. The 3 dimensional noises in the huddle, on the line, from the grandstands; the growls and other sounds from the players; these things made the movie live and my blood boil. I was breathless.

Then these things interspersed with dead silences and slow motion dreamlike sequences gave the action a spiritual quality.

I stayed for the credits to see who had done this sound work and I think Wylie Stateman will get, at the very least, an Oscar nomination for sound design. If you ever wondered what this credit meant, see this movie and you will know. This movie would have lost a great deal of its punch without that sound designer's talent.

I think the movie as a whole was excellent. Oliver Stone did a great job, I felt as though I was inside the screen. The almost 3 hours didn't even feel like it, it felt like watching a Football game on Any Given Sunday. Jamie Foxx did a great job, you loved him at times and hated him at times, and he gave you great reason to do either. And of course Al Pacino was the man as always, playing a coach with heart and blowing you away at the end. Cameron Diaz was the best wicked witch, just a hard-core display of a woman of the millenium. All in all, anyone who thinks this movie had no plot, wasn't paying attention. All you have to do is see the change in the characters throughout the movie, and what the game meant to each one of them: from the owner, to the coach, to the players, to the doctors, to the families. Perfect example is the characters of both Ann Margaret and Lauren Holly. There is a lot of meaning in this movie. Kudos!

I thought what a great combo for "Any Given Sunday" - Oliver Stone and professional football -- excess meets its match.

So I grabbed a chance to go to the movies with my sons. They got a lot more out of the first and third thirds of the movie that are football games, which I couldn't follow at all, knowing zilch about football so I missed any references to significances of plays and strategies and didn't recognize the zillion football players past and present in bit parts, but I got other visual and music references they didn't.

The football field is explicitly a jungle, with the sounds like an elephant herd crashing. Of course Stone never says or shows once what he can get across 5 times, so the jungle fever point of the primalness of sports as a venue for male violence is accompanied by Native American chants, aboriginal and Asian Indian mystic strains as well. I don't know enough about rap to judge those selections -- I could tell there were lots of lyrics about "niggaz" working for The Man type of thing.

The second third should have appealed to me as that's when the huge ensemble has personal interactions and we learn all their selfish, dastardly, unpleasant motivations, but I was on sensory overload. Example: Al Pacino as the Old Guard Coach calls in Jamie Foxx as the suddenly first string quarterback (in a terrific performance), for a tête a tête on the pro's of Jazz over Rap, as a metaphor of the old football of finesse (what? all those flashbacks to black & white football games were of a subtle sport?). But when Foxx walks in Pacino has "Ben Hur" playing on a wide-screen TV. As if we didn't get the point Foxx actually says "The old gladiators, huh?" If we still didn't get the point the conversation keeps intercutting with the chariot race. And if we still didn't get the point of any reference in the conversation to racial issues then intercuts to the galley slave scenes from "Ben Hur" THEN on top of that, the NFL commissioner who puts the Bitch Owner in her place for trying to play with the Big Old Guys is none other than Charlton Heston.

No one just has a conversation -- everyone shouts, usually at the same time, so I had to close my eyes and I'm not sure if I missed something.

This is Sunbelt Football of expansion teams where the sport is not a Fall/Winter season - so the women were everywhere in tank tops, cleavage, midriffs bare and hips swinging, even Cameron Diaz as the Bitch Owner. Though all the women are really high priced prostitutes (even usually sweet Lauren Holly is a hardened cold Football Wife).

What I don't think I missed was Stone's outsize determination to ignore the homo-erotic aspects of male sports violence that "Fight Club" reveled in. Aw come on Stone, not a single gay player in the closet? He crowds the behemoths into locker rooms and showers that can barely contain their bodies--but he's so afraid of showing them in contact that he even at one point has one throw a baby alligator into the shower so they scatter.

Everyone is criticized-- including the sportscasters, which Stone revels in playing one (I think in general this movie is a show down between Stone and Spike Lee as it takes on more racial issues than he's done in the past). What a coincidence that ESPN is continually bad-mouthed when there's a big legible credit at the end to Turner Sports Network when this is a Time Warner movie and ESPN's a competitor.

Stone of course goes out of his way to link football with war, to fit into his oeuvre, with battle quotes from Vince Lombardi and some sort of link with Pacino's father dying in WWII that was irrelevant it seemed to me.

I think this is Dennis Quaid's at least third football movie and in the genre of such movies as "North Dallas 40," "Longest Yard," "Great American Hero," etc. and this joins that pantheon as a terrific football movie.

The music selections were by Robbie Robertson (with Paul Kelly but I'm not sure which Kelly that is) and he did as seamless a job as he's done for Martin Scorcese. The music credits at the end were impossible to read -- in 3 columns of a vertical font that was like watching the credits on TV - plus the movie continues under the credits so all those who bolted missed the ending.

Professional football deserves to be Oliver Stoned. But if I never saw any more football that'll be fine with me.

(originally written 12/27/1999)

Any Given Sunday (1999)

Al Pacino, Jamie Foxx, Cameron Diaz, Dennis Quaid, LL Cool J, James Woods, Matthew Modine, Lawrence Taylor, Jim Brown, John C. McGinley, Aaron Eckhart, Charlton Heston, Oliver Stone, Elizabeth Berkley. Directed by Oliver Stone. Spoilers herein.

"Any Given Sunday" is a film that is a feast for the eyes, but not the mind. Stone does a great job for creating a dizzying direction, eye-opening visuals, and extremely loud sound, and he does all of this with the 2 and a half+ hours that he has to spare with the film but never does go deep into detail on the characters.

The story consists of a professional football team struggling with their season. The film opens with a quote from football legend Vince Lombardi, and then fades into a football game, where the starting quarterback for the Sharks, Jack Rooney is hurt in the middle of a game, unknown third string quarterback Willie Beaman is sent in for the rest of the season. As Beaman starts rising to fame, aging Coach D'Amato and Rooney begin to question if Beaman is worth risking the rest of the season and their chance for the championship as he is trying to make the team win by himself.

The performances are pretty good and powerful. Al Pacino and Jamie Foxx do great with the lead characters, and other familiar faces such as Cameron Diaz, Dennis Quaid, James Woods, LL Cool J, Matthew Modine and John C. McGinley in the supporting performances.

One thing I did really like about "Any Given Sunday" is how the action during the games is very realistic, gritty, and fast. It ultimately captures the intensity and hard work from the sport of Football. But like "Natural Born Killers" and "U Turn", the sound is so unbearably loud and images are so fast and dizzying that the film could give some viewers a headache. Stone has been known to cause controversy among his films, and this is a way that he seems to do it, but it didn't bother me so much as haters of the film. Despite of some of the strengths, "Any Given Sunday" does have a few flaws. The film is unnecessarily overlong, overly stylish, and underdeveloped. Stone really could have made the film about 20-30 minutes shorter, and with most of the time the characters are either playing on the game field or yelling at each other. Some scenes showing Willie's rise are no more interesting than a Nike Gridiron commercial or a Michael Bay film. Another thing Stone forgets to do is add emotion to the film, and he replaces that with mostly sports action.

Overall I really did enjoy this film a lot, for it's realistic football scenes and the living hell that the players go through in order to win. But at times it really does try too hard, especially when it's absent with a great script and follows clichés of older Football (or even gladiator) films. But I would recommend it to Stone fans and football fans especially. A very considerate 4 stars out of 5.

When Oliver Stone isn't flaunting wild conspiracy theories, he actually gets down to the business of making some really good films. And Any Given Sunday is definitely one of those.

It's a difficult perspective for me to write about this movie as my favorite spectator sport is baseball rather than football. But the business end of it is virtually the same. Curiously enough I was in Miami last week and saw the Florida Marlins home opener. They are going through some of the same dealings with the Miami city fathers about a new stadium that you see Cameron Diaz having with Clifton Davis in this film. There's a possibility that Miami will not have its major league baseball franchise soon.

Cameron Diaz is the young owner of the Miami Sharks professional football team who inherited it from her late father who is described as one of the prominent owners in the sport, a kind of combination of Wellington Mara and George Halas. Her father gave Coach Al Pacino complete latitude to deal with his players, but Cameron is taking George Steinbrenner as her role model.

Al Pacino joins the ranks of players who have done outstanding portrayals of athletic coaches. It's an honorable tradition going back to Pat O'Brien as Knute Rockne. I'm not sure how Rockne would have done in the era of seven figure salaries, but Pacino is adapting the best way he can.

When I was a kid in NYC in the fifties following our three major league baseball teams, one of the great constants was Casey Stengel winning that American League pennant for the New York Yankees with Yogi Berra behind the plate. The catcher's job is similar to the quarterback's in football in that he sees the whole game and actually sets the pace in calling the pitches. As Yogi's skills deteriorated over time, Casey could never quite pull the plug on him as the regular catcher. As a result, Elston Howard who would have been a regular on any other team never amassed the statistics that probably would have put him in the Hall of Fame.

Pacino has that kind of dilemma here. A veteran quarterback in Dennis Quaid and an up and coming talent in Jamie Fox. Quaid's skills are deteriorating, but he has the heart of a warrior which Pacino tells him in my favorite moment in the film. And the lesson Fox learns from Pacino and Quaid is that if the team doesn't respect you, you don't lead winners. And winning is the bottom line.

There are a whole lot of good performances here in minor roles, the hallmark of a great film. James Woods as the slimy team doctor, Ann-Margret as Cameron Diaz's mother, LL Cool J as a defensive lineman who may have taken one hit too many. And what a casting coup Oliver Stone pulled off in getting Charlton Heston for a small role as the football commissioner. Who better to run professional football than the guy who brought the Ten Commandments down from Mount Sinai.

I think even non-sports fans can appreciate this film.