When I arrived in Naples, 85,000 people waited. When I went, I was alone
“This is what Diego Maradona says at the end of a documentary about the same title, when he had to leave Napoli after seven years. Becoming a Disgruntled, Mild Expression: Maradona was the first to win the title of the Italian team, and then the Argentine national champion, but still left to play football in one of the poorest regions in Italy, where she coincided with local organized crime, wildly smoked cocaine, and tried it to cope with the worship of a complete city and to disassemble it. A few years later, he must be properly fleeing when he turns out to have regularly ordered the local criminal, Camorra, prostitute and cocaine. But it may not have been the biggest problem. But the fact that he scored a goal in Argentina in a semi-finals of the 1990s, which FIFA managed to organize in Naples.
This is a couple of years of documentary film by Diego Maradona (directed by Asif Kapadia, who produced a similar film about Amy Winehouse and Ayrton Senna), which is capable of rampant blasting into an action movie and a mafia movie, despite having only archive recordings. we see in it. Sounds are not always archives, Maradona is also narrating her own life, but who thinks that the film will be a delicate story that shakes her own shoulders, she wouldn’t be mistaken. Diego Maradona is a story of a wonderful ascent and a ugly fall, with a man in the center who was psychologically incapable of being able to process it all. And he liked cocaine anyway.
I also experienced the light age of the Maradona myth, but I didn’t catch it at all because of the soot. I was aware of the infamous treatment, drug use, weight problems, but I never saw the legend, and football never had the interest to look more closely. As the screening showed, I was the ideal target audience for Diego Maradona because I had the feeling that the 30-year-old story and all of its classic Greek dramas were going to be in front of my eyes. The story of Maradona itself is like scriptwriters have been working on it for years, ranging from Argentine poor quarters to photos of mafias to fall, when all of Italy said it was enough now.
Kapadia’s film is a pop documentary that does not fall into factual depths, simply illustrating what happened in archive recordings. Sometimes it handles slow motion and dramatic music with too much hands, but its structure is always flawless. Once you can summarize the important matches in a few snits, and at other times, if a particular topic gets dropped, you will find a new approach within seconds, which will make Maradona’s figure shade. Even when we hear the Napoli hateful Italian blues rigm, or get to know his father, who eats enthusiastically and sweat the meat at the Argentine national team. Records collected mainly from amateur sources give an intimate closeness, although after a while it is clear that Maradona was capable of producing exactly the same camera for every camera, no matter who was holding it.
Diego was a restrained little boy, and Maradona is the personality he invented to be able to bear the pressure of professional football
says Napoli’s former coach in the film, and we want to see, in Diego, we see relatively little in this documentary, although I have the feeling that there was hardly anyone who could actually see him.