Air: Fight for Legend – Review

Ben Affleck Air: Fight for Legend His work subtly changes the fading genre of biopic by telling the story of an elite athlete (Michael Jordan) and a multinational corporation (Nike) simultaneously. It does all this in such a light retro fever that thanks to the stars (Matt Damon, Jason Bateman, Chris Tucker) who play comedy without a cloud, instead of a movie about making a deal, we see a lovable cinema in which old men dream of renewal.

Venus Williams. Serena Williams. Michael Jordan. Three African American athletes, whose age will soon become the subject of a biographical film with an unusual point of view. the King Richard And that Air: Fight for Legend What is common in films is that the rise of youthful stars only occurs in the second line of the plot, and the focus is on the person who discovers athletes and has unconditional faith in their talent. Reinaldo Marcus Green’s work centers on the father of tennis stars, and Ben Affleck’s latest film centers on a basketball monitor who contracts with a big company.

the Air: Fight for Legend In the film, the fates of two gods intertwine in the mid-1980s: a sleeping giant corporation named after the Greek goddess of victory and perhaps the most iconic basketball player in NBA history. Ben Affleck’s work is about the birth of the Air Jordan brand, about the business process of how the entrepreneurs at Nike persuaded the brilliant young Michael Jordan to

Choose them as sponsor instead of Adidas or Converse.

I confess: at first it seemed to me a rather uninteresting movie air With a story that culminates in basically one business negotiation, a big company, whose outcome I even know. I saw in front of me a script imitating Aaron Sorkin’s verbal tricks, which uses financial and theatrical jargon to give great weight to multimillion-dollar deliberations. the cool trail and the City of thieves Given his meager crime dramas, he had a legitimate chance, but Ben Affleck is much more than that Argo work He inherited the playful manner typical of a corporate environment. Had the Jordan deal fallen through, Nike’s basketball division would have likely been liquidated. But despite the high stakes, the actor-turned-director loves to use the tool of humor, bringing the story closer to the viewers by making the protagonists of the Basketball Monitor and stuntmen look like ordinary people, and even warming up the sequel. A sense of the inside with a great deal of personality.

The key to the fun vibe is the retro palate. We’re in the 80’s: the financiers are negotiating their landlines and, if necessary, banging the receivers on the table pretty hard; It is necessary to rent a car with a car phone; And even Nike’s copper top can pull off the most outlandish sweats and flashy colors.

The entire movie is defined by the bite of the songs included: from Chaka Khan to Run DMC, from Cyndi Lauper to REO Speedwagon.

Fortunately, music is sometimes not only associated with period painting, but also has a more interesting dramatic function. In this regard, it should be noted that Brian De Palma speaks for a short time at each appearance of the shoe that charmed Michael Jordan and then the whole world. Excuse body The main melody of his film, it indicates at the same time the fusion of the shoe and the owner, and the irresistibility of Air Jordan.

Even Nike’s most creative brainchild funds have managed to establish them as well-intentioned fools. The protagonist of The Basketball Monitor (Matt Damon) is every way an outsider in a company focused on profitability, which the director portrays as his overweight and aversion to running. Nike’s founder (Ben Affleck) is constantly reciting Buddhist wisdom and doing breathing exercises, while lamenting the good old days so much that he regularly steals chocolate from the company’s free buffet. One of the employees in the marketing department (Chris Tucker) secretly wears Adidas tracksuits because he likes them more than Nike products. And the designer who dreamed up the Air Jordan look (Matthew Maher) can talk about nothing but shoes.

Therefore, humor plays a key role in ensuring that we do not see the dodgy leaders of a multinational corporation, but the ordinary people who pulled the stunt. Older guys, guys with boom and bust, who’ve already made it to the top by founding and building Nike, and are just too bored to keep up for so long because of guaranteed returns for shareholders. They want new momentum, new aim, new attack at the peak. To turn gate closing panic into a productive driving force. That is why it feels so grateful to surrender myself airto, because

Ben Affleck makes me want to watch not a movie that’s geared towards business, but action that tells about faith, risk, and perseverance in its own understated way.

and from another perspective, about the great possibilities of the B-side of the journey of human life, the creatively fatal financial thrust of the contemporary Hollywood machine, and American national identity.

the air This is the second film in a short time that uses the corporate system to reflect on the contrasting stages of life. Damien Chazelle BabylonYes, he celebrated the freedom of youth in the chaos of silent filmmaking, but he mourned the coming of age united with forced control over sound filmmaking. Ben Affleck has a similar idea in the shoe business, but it is airIn your youth, you can’t help but feel nostalgic – which is why the retro milieu that defines the film is not self-serving – as a stable operating company brings monotony and boredom into the lives of workers.

However, the director claims that there is also potential for renewal on the B side of our lives,

If we are brave enough to instinctively capture the moment when it is worth breaking the rules again. As the famous slogan says: do it. It is no coincidence that Ben Affleck uses the key slogans of Nike’s corporate credo as chapter headings, showing how personalities go beyond the guiding principles of business success.

Ben Affleck turns big corporate hit with good criticism (Consultant, Belko Experience), to its soulless world, and I feel it diminishes the revenue-assured nature of contemporary Hollywood films.

On the one hand, it is airrel, director refers to Disney and Marvel’s “Creative Hands Tied” policy,

On the other hand – again only a Babylon– indicates that someone is behind the films. People who, despite what every viewer or film critic would expect of them, can’t deliver high quality all the time. Their careers are marked by ups and downs, and as they grow older, the hope of a second prosperity and unconditional enjoyment of work becomes more and more important in their lives. Ben Affleck, for example, has three great movies (Cold Trail, City of Thieves, Operation Argo) arranged it after that night law Let everyone disassemble it after its shallowness.

That’s why it’s exciting airPersonal penetration. The famous friendship between Matt Damon and Ben Affleck fuels the emotional world of the film, often reminding me of the movie made 26 years ago. Goodwill hunting, which also talked about the use of talent and self-realization that break the rules. And it’s a nice feeling to see these comedians (Chris Tucker, Marlon Wayans) who left the summit behind long ago and are now seriously enjoying a movie that’s really about them.

However it is air Class also forms an opinion about the successful self-realization and availability of the American Dream, and thus overtly serves to stabilize American national identity. This intention is by no means unique to Hollywood film history, and yet I feel its shadow airIn that commendable.

Because of retro fever, it’s not uncommon for a movie to be set in the 1980s, but directors often present the era as a parable so that we see something negative after the comparison. the joker Speaking about the anger caused by the polarization in our society, prof Wonder Woman 1984 Discuss the difficulties related to women’s self-realization,

the air However, I feel like he sees the 80’s as a positive example.

The success story of Ronald Reagan and Nike, who returned America to greatness again, is a worthy parallel to the desire to strengthen the American national identity, which, we admit, is so badly needed by the United States in the current crisis of values. But it is much more interesting to note the renewal of a large company that has already reached the top, because it reminds me more and more that the United States of America, which is still young compared to European countries, is only 247 years old. Struggling with stagnation after reaching the top, boredom of maturity. It is as if the United States itself is waiting for a second prosperity, or at least an example to be believed in.

This icon was introduced in the movie by the person of Michael Jordan, who was also cast as part of the fun Ben Affleck style. In fact the basketball star appears in full only in the original cuts, but in the movie scenes we never see his face, we only hear his voice, we might even glimpse his back, the back of his head and, God forbid, his shoes. I do not consider this fact a spoiler, because this visible organizational solution serves the dramaturgy of the trend, that Nike employees are really negotiating with a genius, a god, intangible and unpresentable in this form. In fact, Jordan is only represented on the ground by his determined, purposeful, and extremely well-communicated mother, played by Viola Davis, who is a powerful presence.

Ben Affleck Air: Fight for Legend Therefore, his film is a multi-layered entertainment that can only be criticized in two points. If he considers breaking the rules to be one of the keys to successful self-realization, why does he tell his story in overly conservative formal language and plot organization? Neadjist, does it serve Nike’s economic interests? Because that air In fact, it also proves that: in the 21st century, biographical films can be made not only by star athletes, but also by multinational corporations.

Air: Fight for the Legend will be in cinemas from April 6.