We know how this will end – Diario Alfil

JC Maraddon

Art and sport have represented lifelines for many people who were born and grew up in a negative context, and who, driven by a foolproof vocation, one by one dodged the obstacles that stood between them and their dreams of glory. Of course, the cases in which these outcasts achieve their goal are exceptional. Most of them fail in the attempt and must inevitably return to the starting point, carrying the cross of not having been able to become one of those who managed, with effort and talent, to look beyond their limitations.

There are plenty of examples of singers who emerged from homes plagued by poverty, marginalization or violence. Not to mention the soccer players, who in some cases grow up in misery in a marginal neighborhood, until a club discovers them and signs them on the squad of its lower divisions, where they will train and compete with others who also dream like them with being champions. That path that goes from anonymity to celebrity is covered with a heroic patina that ends up building a legendary story, destined to encourage those who know they are hopeless.

These spectacular feats that are carried out by human beings whom people end up worshiping as demigods, form a breeding ground for literary or cinematographic narratives, which may or may not be extracted from real events. Just as the public idolizes those who overcome adversity to be stars, also the books and films where these kinds of stories are told have enormous chances of rounding out an event. And that is well known to those who invest fortunes in the entertainment industry with the expectation that this money will return, multiplied, to their pockets.

A few months ago, when the lights of Hollywood pointed the way to the Oscar, we discussed here the film “King Richard”, which is an obvious example of that format that has been used so many times. A father of humble social extraction, he promotes at any cost the tennis career of two of his young daughters, Venus and Serena Williams, who will later sweep international tournaments and establish themselves as the best rackets in the world. At that time, we pointed out that this feature film recycled the old fable of the American dream, leaving no record of all the aspiring tennis players who never had the chance to shine on the main courts.

With the same intention, although this time appealing to an imaginary plot, the director Jeremiah Zagar directs “Garra”, a film that premiered on Netflix earlier this month and was released as one of the tanks on that platform for this season. . The discipline chosen on this occasion is basketball, one of the favorites of Americans, whose NBA is classified as the most demanding league on the planet. As a recruiter of new talent, the central role is assumed by Adam Sandler, both loved and hated among large audiences.

A true basketball ace, the Spaniard Juancho Hernangómez, acts in “Garra” as an amateur whom Stanley Sugerman (Sandler) will discover by chance and tempt him to compete with the best of American basketball. No matter how many figures from that sport join the cast and no matter how much effort Adam Sandler puts into convincing us with his performance, we all know very well how this will end because we have seen countless movies with the same structure. As in “King Richard”, where an authentic biography is represented by actors; and as in “Claw”, where professional players are summoned to round out a fictitious plot.

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