A young and impatient stockbroker is willing to do anything to get to the top, including trading on illegal inside information taken through a ruthless and greedy corporate raider who takes the youth under his wing.
When a devastating hit knocks a professional football legend and quarterback Cap Rooney out of the game, a young, unknown third-stringer is called in to replace him. Having ridden the bench for years because of a string of bad luck stories and perhaps insufficient character, Willie Beaman seizes what may be his last chance, and lights up the field with a raw display of athletic prowess. His stunning performance over several games is so outstanding and fresh it seems to augur a new era in the history of this Miami franchise, and forces aging coach Tony D'Amato to reevaluate his time-tested values and strategies and begin to confront the fact that the game, as well as post-modern life may be passing him by. Adding to the pressure on D'Amato to win at any cost is the aggressive young President/Co-owner of the team, Christina Pagniacci, now coming into her own after her father's death. Christina's driving desire to prove herself in a male dominated world is intensified by her focus on the... Written by
Oliver Stone wanted to use the music of the Canadian band Godspeed You! Black Emperor and actually filmed a scene using their music, when he later asked for permission, the band said no, so Stone was forced to redo the scene without the music. See more »
During the entire game in Texas Stadium, the film's lighting package is clearly visible rigged in the ceiling above the field. See more »
"It's TV, it changed everything, changed the way we think forever. I mean the first time they stopped the game to cut away to some fucking commercial that was the end of it. Because it was our concentration that mattered, not theirs, not some fruitcake selling cereal."
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During the end credits, we see D'Amato accepting an award and telling of his future plans with the league. See more »
A Dizzying, Entertaining Peek Into Pro Football...Stone Style
Sports movies are tough to make. Creating the essence of the actual event is the toughest. Most films fall short in the editing process of the event or through sheer carelessness and lack of knowledge. ANY GIVEN SUNDAY is somewhat of an exception. It is hard-hitting and bloody like NORTH DALLAS FORTY. It is actually conventional when you think about it, like a warped RUDY. It is a hell of a lot more realistic than say, NECESSARY ROUGHNESS. These are all football films with varying degrees of success (except ROUGHNESS), but Oliver Stone, in his usual over the top way, throws a dizzying, mind-splitting film at us, much like the sport itself. This is why I liked it.
Oliver Stone began a wicked spell of filmmaking with JFK, evident in its editing style. Fast-paced, black and white mixed with color, documentary-like methods ensued in NATURAL BORN KILLERS, NIXON, and the ghastly U-TURN. Nothing is new here with ANY GIVEN SUNDAY. Football is a battlefield Stone chooses to depict and depict it he does. Even the most ardent fans of the sport do not really know what it is like for a quarterback to drop back and get rid of a piece of pigskin before 11 players maul him. You certainly get the idea watching this.
Al Pacino is the dried up head coach of the fictional Miami Sharks and he barks out the usual coaching cliches you hear in press conferences after real games. Pacino also seems to be sleep-walking through the picture. At times, he appears drunk even when he is not supposed to be. Cameron Diaz's character, a young chick owner, (yeah right) destroys any credibility the film may have had going in (Even the NFL would have nothing to do with this movie). Her constant bickering is so over-done, you almost feel like hurling much the way Jamie Foxx does every time he enters a game as the team's 3rd string quarterback. Realisticly speaking, this is not a very sane film about football. It is a maniacal celebration of the game. The scenes on the field are the ones I cherished. Beware of the locker room or domestic sequences.
No one has ever put such energy into football scenes in a film before. He definitely had some good consultants. There are some comical cameos - Johnny Unitas and Dick Butkus play opposing coaches. Lawrence Taylor can actually act a teeny bit and Jim Brown shares the film's best off the field scene with Pacino in a bar. Stone tries to show us how the game has changed. He resonates past glory with quotes from Lombardi, dissolves showing Red "the Galloping Ghost" Grange, and even Unitas handing off to Ameche. TV has changed everything, says the coach, and he is right. It seems to be all about the money nowadays.
That is the message, but you'll find yourself losing that idea in the lunacy of ANY GIVEN SUNDAY and the bone-crushing, ear-damaging football scenes. They are filmed and cut with such raw intensity, you feel like playing afterwards. This is definitely a film for football fans only unless you like big, sweaty men. Is there a big game at the end that needs to be won? Yes, and this surprised me considering how unconventional Stone usually is. Basically, surrender your senses and thought process to Stone's most entertaining film in quite some time.
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