Fri. Oct 18th, 2019

Diego Maradona: Meeting of great successes | Culture



Whether as a director or as a producer, the British Asif Kapadia has been specializing in recent years in a kind of documentary marked by constant signs of identity: controversial characters of strong popular scope, of which there is extensive documentation; sound and visual energy, vertiginous rhythm in the narrative and in the montage; and absence of voice in off explanatory and talking busts that, in retrospect, analyze each of the figures from the present of the film itself.

DIEGO MARADONA

Address: Asif Kapadia.

Gender: documentary film. United Kingdom, 2019

Duration: 130 minutes

Senna (2010), on the pilot of formula 1 Ayrton Senna; Amy, the girl behind the name (2015), about the singer Amy Winehouse; Oasis: Supersonic (2016), about the star group of britpop and the relationship Cain and Abel (or Cain and Cain) of the Gallagher brothers, and now Diego Maradona, about the legendary Argentine footballer, little less than a god in his country and in Naples, just the time in which Kapadia has decided to focus, after passing superficially in the initial minutes for his time in Argentinos and Boca Juniors, as well as Barcelona. Is your period more interesting? Undoubtedly, both football and social and personal. But with the new work of Kapadia there is a doubt: what can be great for a certain film may not be for another.

Something dangerous happens with Maradona: from him we have already seen everything, in heaven and in hell, in the sublime and in the lamentable, at least the soccer fans. Maybe we have not analyzed it at all, but it has been shown. Y Diego Maradona, as in a certain sense so were the previous Kapadia documentaries, it is a kind of great successes, a meeting of genius and obscurity, where sometimes a little pause and reflection is missing between the carousel of documents, although few of them they are novel. And something striking happens: even taking the film a spectacular image, far ahead of the vast majority of productions of this style, it seems less revealing in its field that the recent television production of Movistar F. C. Maradona, dedicated to his Barcelona stage, infinitely more conventional with his interviews on camera and his voice in off analytical, but with less look of refulgent meeting, of live disc with the best songs of the group when there is no new material to contribute.

That said, the not very football fans will be impressed by the ambiguities of the character, and the most addicted to the ball will end up enjoying it in good measure, despite the doubts that can generate its formulation. Maradona is a tragic figure of a book, interesting even in its most pathetic aspects, mythomania always generates passionate contradictions, its relationship with the Neapolitan camorra transcends the social, and its football will last forever. The cocaine, the brothels, the degradation, the magic of his left leg, the triumph, the decline. But how much of all this is new?

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