Out of print for more than 30 years, now available for the first time as
an eBook, this is the controversial story of John Wooden's first 25
years and first 8 NCAA Championships as UCLA Head Basketball Coach.
Notre Dame Coach Digger Phelps said, "I used this book as an inspiration
for the biggest win of my career when we ended UCLA's all-time 88-game
winning streak in 1974."
more than 40 hours of interviews with Coach Wooden, learn about the man behind the coach.
Click the Book to read
the players telling their stories in their own words. This is the book
that UCLA Athletic Director J.D. Morgan tried to ban.
Click the book to read the first chapter and for
by Tony Medley
Runtime 121 Minutes.
I don’t like fantasies and they are
particularly inappropriate when presented as an historical story of
recent past. This is intended to be about Paris in 1936 when the
old political guard of a French republic was riddled with financial
scandals and immoral maneuvering and was swept aside by the poorest
classes. The sweepers were an odd amalgamation of leftist-socialist,
communist, and anarchist, and they inspired a violent reaction by
right-wing nationalist factions, who were fascinated by Hitler and
Instead of telling a story straight up,
Director-writer Christophe Barratier has created a fantasy section of
Paris, The Faubourg, with a theater that is failing. His three main
characters, Pigoil (Gérard Jugnot), a stagehand, Jacky (Kad Merad), a
former sandwich man who has a delusion that he is a first-rate
impressionist, and Milou (Clovis Cornillac), a virulent leftwinger who
preys on women, band together to try to save it. Thrown into the mix is
the neighborhood “godfather,” Galpiat (Bernard-Pierre Donnadieu), who is
antagonistic, to say the least. This could have been interesting if it
weren’t so uninvolving and if it were presented realistically.
The problem for me is that it is sheer fantasy
and is filmed as such. There is no capturing the Paris of the ‘30s here
(the film was shot in
although that’s what they intended, apparently. You have the feel you
are watching characters in a location that never existed, which is
exactly what you are doing. One of the wonderful things about
“Casablanca” (1942) was that, despite the hokey titles, which are almost
comical today, you really felt as if you were in the real city of
Casablanca, even though what Warner Bros. presented was as far from the
real Casablanca as New York City is from Ponca City. It doesn’t have to
be accurate to seem realistic.
36” is doubling disappointing. There’s no reason that the film couldn’t
have been filmed in Paris.
There are areas around Montmartre
that are still reminiscent of
Paris in the ‘30s. Instead, what
Barratier presents is a set so phony that it robs the film of the
ambience it advertises in its title. But, in addition to the sets, the
characters lack verisimilitude, as does the story.
I was interested and enthusiastic about the
concept. Then the movie started. The tracking shot over the set that
opens the film told me that this was not going to be the movie I
anticipated, and it went downhill from there.