In a steppe, a desert, and a rain forest, World Cup fever is catching, a male-afflicted malady with only one possible cure-all: the television, preferably color, the most-prized possession in any contemporary hunting and gathering society. Using the same concept that filmmaker Jim Jarmusch implemented in "Night on Earth"(taxi drivers of the world, unite!), soccer fans of the world unite in Mongolia, Niger, and Brazil for "La Gran final", a film that demonstrates the universality of male camaraderie that's inherent when men huddle around a television for some big game. Unlike the 1990 observational comedy from Jarmusch about cab drivers and their passengers, the narratives in "La Gran final" are liberated from self-containment by a cross-editing method that suggests, at times, a story-driven "Baraka"(the 1992 documentary from David Fricke about the world we live in). Far from being a staid ethnography about a people's mere existence in some non-industrialized sector of the world, "La Gran final" is surprisingly funny, with a brand of humor that's appropriately western in feel, since civilization slowly encroaches on their unadulterated lives.
One commonality that all three narratives share is the way in which sports possesses a cultural currency that unites the haves and have-nots in a temporary epoch of cheering and booing. In Mongolia, the Mongol general joins the fox hunters in their yurt, and in Niger, the nobleman sits on his patio chair with both, the Arab and African commoners. Echoes of "O Ano em Que Meus Pais Sairam de Ferias", Cao Hamburger's film about a San Pauolo boy's separation from his exiled parents during Argentinia's dictatorship that centered around the 1970 World Cup, abound, as "La Gran final, too, shows how television is truly an opiate of the masses, a case made most strongly in the Brazilian narrative. When the natives' television loses its signal, the fervent soccer fans go to the sawmill where American timber men are watching Brazil play Germany to a scoreless draw. Earlier in the film, we learn that the natives were given a television as payment for, what is essentially, the raping of their forest. The restless natives are appeased natives, stood down by talking furniture, which enables the timber merchants to chop down their trees without worry of being murdered. In one particularly striking scene, the natives approach the American contingent from their backside, in silence, like an ambush, before they settle down next to their natural enemies.
Light in tone, nevertheless, the astute viewer will pick up on the darker undertones in "La Gran final", a comedy about the anaesthetic effects of television in the third world.
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