Notes

It was Frank Capra who in the full 'New Deal' 'rooseveltian' brought the master lines of straight, fraternal (not only solidarity) and socially relevant behavior. His heroes were not only good but his goodness was contagious, it expanded from the certainty that a good act is also a necessary action. Not only did freedom matter as an inalienable good but the responsibility of converting individual conduct into a common model, as a pattern of behaviour. Free yes, but paying taxes.
before and after anavar of 'Live as you want' confessed on some occasion that his desire was no other than to sing "to the workers, to the simple and ordinary men and women, to those who were born poor, to the afflicted." And to do so from the awareness that a person alone and even abandoned if he has faith, ability to work and talent (which is already to have) can never fail. And if you do, failure is not yours, it's everyone's. In passing, he created a cinematographic genre that time has been copying, squandering, perverting, or, given the case, dignifying.

Let's say that the last and most obvious example of such a booby-hot of optimism 'self-made man' is 'The Williams method', the film directed by Reinaldo Marcus Green that is released on Friday where Will Smith is more than just the protagonist. From the inlet, it is no less shocking (or even debatable) than the first time the incredible story of tenist sisters Venus and Serena Williams is the protagonist of the father, than they are. But it's another matter. The film basically follows the pattern that so obsessessessesses the actor for a long time and has been a constant in his filmography with films like 'In search of happiness' or 'Seven souls'. Again, we witnessed the unequal fight of a poor man against the elements. Again, the moral act is also sentimental.

Let's say the whole film is fighting to dignify the delicate argument that it handles: the obsession of a man who decided to turn his daughters' lives into the only way of life possible. The ghost of abusive paternity whose extreme pattern is the Miss Niña Universo JonBénet (which would give rise to the proud documentary 'Casting JonBenét') looks its wobbled manners by the screen folds whenever the very calculated set-up loses its foot. But, careful, this is hagiography. And so they understand it both the director battered in the cinema 'indie' ('Monster and men') and Smith himself who submits to one of those transformations that the Oscar seeks at every step they take. Smith gets in the way, modulates the voice, lets the baskets grow beyond reasonable and occupies every plane with a professionalism so obsessive and even sick as the character he gives life to.

Countermove Capriati
In this way, and despite the fact that it is clear that the whole physical, tenistic and existential plan with which Richard Williams submits to his daughters from babies obeys the first motivation of money ("The day I heard a tenist declare the money he earned, I saw it clear," he is heard to say), the tape strives to correct constantly and morally similar and ugly aserto. So, the motivation is that, but also, as the police make it clear, the idea is to get their creatures out of a few streets where there is only drugs and violence. Yes, it's about making them unpredictablely millionaires, but without losing sight that the priority is that they have fun while breaking balls to scratches. In fact, the film once again and again underlines the countermodel of Jennifer Capriati, the young prodigy devented toy broken by greed, pressure and 'crack'.

Theoretically, the father brought his pupils out of the youth competitions and made them debut in the professional circuit not by feeding the 'show Williams' before the media that, apparently, never stopped asking for such a decision and anomaly; he did, if we listen to the tape, to save pressure and make them models for all, black included. There's reason to doubt it, but it's not the time. What leaves no room for suspicion is that until they arrived, tennis was a sport for the rich and white exclusively. Now it probably remains like this, but the exception of the Williams sisters remains for history.

Whatever, and on the one hand the examples starred at Smith himself, recent cinema is plagued by revisions of the 'capriano' scheme in biopic (biographical link) in general for evil. The two previous films of the Philadelphia actor are hardly bearable. 'Joy', by David O. Russell, according to the life of the humble laborer Joy Mangano turned into a mogul of the cleansing, did not pass from the slightly reactionary anecdote. And this same team could figure without going too far 'Jobs', by Joshua Michael Stern with the actor Ashton Kutcher transfigured in the creator of Apple. Perhaps something different, because of the salt that is allowed to sprinkle on the wound of 'fast-food' capitalism is 'The Founder', by John Lee Hancock, to the creator of the McDonald's formula.

Marcus Green is aware that the objective is to avoid the previous paragraph with the view on the first, that of Capra. And his 'Método Williams' is sagaz enough to hide, justify and insist over and over again on the commitment of a man who is presented as a determined and demanding individual, but above all protective. A good father. Things went well and that's clear to any viewer, whether familiar or not with tennis. Venus won seven Grand Slam and Serena titles is considered the best tennis player of all time with 23 of the same. In the face of this evidence, all preventions are relaxed. It is known from the first second of the film to the final match against (atentos) Arantxa Sánchez Vicario that the man's system to heal all his shortcomings worked. But what if not?

It is inevitable, despite the undeniable bill and intelligence of the staging, to doubt. And a lot. It's hard to forget that Smith himself, the real life guy, seems to want to be Richard Williams. The parallels between how the couple we see on the screen (the characters incarnated by Smith and Aunjanue Ellis) and the one in the daily press (Smith and Jada Pinkett Smith) take care of and indoctrination of their challengers. There's a plan and it's successful. But the doubt and what distances this film from Capra's intachable legacy in a definitive way is precisely the value of the example and the sense of failure.

Capra's characters are moral because their behavior is not guided by the effectiveness or not of the effort made but by the very sense of virtue. His faith and talent is placed in the community, in all. If a righteous man fails, failure is common. In the case of the Williams of the film, and despite the infinite corrections in the opposite direction that the director is allowed, everything depends to a great extent on the millions in the bank account. It is inevitable to think that if Venus and Serena, after an entire life following every requirement of their father, they would have won nothing, nothing would be. 'The Williams method', and despite the punctual criticism of racism, injustice or the arbitrariness of an arbitrary world, ends in its radicality by giving for good what things are right, it is enough to have a good method. It's, if you want, a perverted cap. Frank Capra, on the other hand, always demanded a new agreement for reality in the pursuit of precisely a fair method. And so.

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