#Rob Strasser

[snkrbonbon]

Rob Strasser （Nike, 1977）

[hobbitpottaaaa]

Jason Bateman as Rob Strasser in “Air” (2023)

[dreamingincolorrr]

Original Nike Principles from Rob Strasser (1977)

[houseofgeekery]

Movie Review: 'Air'

Plot: In 1984, Nike’s basketball shoe division is a disaster. A third and distant banana behind Adidas and Converse, sales are abysmal. In fact, things have become so bad that Co-Founder Phil Knight (Ben Affleck) and Marketing VP Rob Strasser (Justin Bateman) are considering shutting down the entire division. Enter Sonny Vaccaro (Matt Damon) Nike’s basketball talent scout. Vaccaro sees Michael…

[whitepolaris]

He Just Did It

In Nehalem Cemetery stands a grave so bold, a grave that stands out so clearly among the rest, that you'd think it was designed by an advertising agent.

You'd be right. This grave marks the remains of Robert Jay Strasser, the ad man who helped create Nike's "Just Do It" campaign and the Air Jordan craze before moving on to help revitalize the adidas brank of sneakers.

Child-sized adidas hang from the trees surrounding Strasser's grave, and loved ones leave decorations, bottles, and other trinkets nearby. The tombstone is an impressive boulder, split down the middle, engraved with Strasser's own words. He is a sampling:

Rob's Words

Here lies a man bigger than life, A builder of teams, a dreamer of dreams. A visionary who saw around corners of stone. A friend who protected strangers as well as his own. Passionate and warm, loyal and kind, Generous of heart, brilliant of mind, He loved and was loved for all that he grave And that love will live on, far beyond this grave.

[theloniousbach]

ALMOST LIVESTREAM: TAD SHULL with Rob Schneiderman, Paul Gill, and Joe Strasser, SMALL’S JAZZ CLUB, 21 JANUARY 2024, 7:30 pm set

I went back to August 2022 for a show of Mark Turner joining Miki Yamanaka’s tour. Since Turner and TAD SHULL recorded a very nice albums of ballads and because Shull was conveniently on the schedule, I picked this one for enjoyment and a writing puzzle to answer.

So, comparisons: Turner is the more elegant saxophonist. I have seen Shull before and enjoyed him. His gigs, like this one, are very off the cuff with him calling tunes and keys seemingly on the fly. That adds a certain unpolished-ness to his playing. But, the Eddie Harris/Cryin’ Blues late in the set along with Mellow Mood from a Wes Montgomery/Jimmy Smith recording helped me recognize a soul jazz element to his playing. The roughness is intentional. So it took me about half the set for me—and perhaps them—to get their bearings. The On the Trail opener hadn’t quite settled in and Mellow Mood wasn’t exactly mellow. John Lewis’ Milestones didn’t quite settle in. Oddly I Want To Talk About You as the ballad worked very well as did Beautiful Love as a closer.

Another comparison: Yamanaka as the leader called the shots with Turner and she is a vivacious pianist. Rob Schneiderman was perfectly fine but the dynamics were just different. I appreciated Paul Gill and, especially, Joe Strasser as this night’s rhythm section. They could be polished in the service of Shull’s vision. Strasser, like Yamanaka’s drummer Jimmy McBride, was inventive and propulsive.

I expected and got a straightahead set of standards. The contexts and comparisons were a nice bonus.

[htsportt]

Giày Bóng Đá Adidas Chính Hãng Sân Cỏ Nhân Tạo  – Thương Hiệu Toàn Cầu

Adidas luôn biết cách hoàn thiện thiết kế và công nghệ sản xuất giày của mình. Bởi vậy, những sản phẩm giày bóng đá chính hãng Adidas khi ra mắt tạo được hiệu ứng rất tốt. Đối với những người yêu bóng đá trên toàn thế giới. Chính thành công chinh phục sự hài lòng của khách hàng. Với những sản phẩm giày bóng đá chất lượng đã đưa thương hiệu vươn lên vị trí h��ng đầu thế giới.

Tìm Hiểu Lịch Sử Hình Thành và Phát Triển Của Dòng Giày Bóng Đá Adidas Chính Hãng 

Adidas là thương hiệu giày đá bóng chính hãng từ Đức. Được thành phần lập năm 1924 với tiền thân là công ty Gebruder Dassler Schuhfabrik. Trải qua nhiều biến cố mà đỉnh điểm là cuộc đối đầu giữa 2 nhà sáng lập Gebruder Dassler Schuhfabrik và Rudolf Dassler đã khiến Adidas lâm vào khủng hoảng.

Tuy nhiên sau đó với sự lãnh đạo tài tình René Jäggi. Cùng các cộng sự tài năng là Peter Moore và Rob Strasser đã đưa Adidas giành lại ngôi vương thế giới. Các mẫu giày đa dạng, thiết kế đẹp mắt của Adidas chinh phục tất cả những người yêu bóng đá. Đến nay, thương hiệu này đã trở thành biểu tượng bất hủ trong làng thể thao thế giới.

Vì sao nên sở hữu một đôi giày bóng đá Chính Hãng Adidas

Giày đá banh Adidas chính hãng  sở hữu chất lượng tuyệt vời chinh phục mọi tầng lớp khách hàng. Từ những cầu thủ thi đấu chuyên nghiệp cho đến những người yêu môn thể thao vua này.

Sở Hữu Công Nghệ Sản Xuất Giày Bóng Đá Hiện Đại

Adidas luôn dẫn đầu xu thế khi sở hữu hàng loạt công nghệ hiện đại, tối tân như.

Công Nghệ Non-stop Grip trên upper giày đá bóng chính hãng Adidas

Đây là công nghệ mà Adidas rất tự hào. Nó có khả năng giúp các đôi giày tăng ma sát với da bóng. Chống thấm nước tốt và đặc biệt là có khả năng chống trơn trượt. Phù hợp thi đấu trên mặt cỏ sân nhân tạo.

Để nhận biết đôi giày bóng đá cỏ nhân tạo Adidas. Bạn đang sở hữu có sử dụng công nghệ này hay không. Bạn chỉ cần chà giày và một quả bóng sẽ thấy độ ma sát rất ổn định. Đồng thời, bạn cũng có thể kiểm tra bằng cách xem phần chữ dòng chữ NSG được trên thân giày với những đôi giày trang bị công nghệ Non-stop Grip.

Control Skin Trên Bề Mặt Giày Đá Banh Adidas Chính Hãng 

Công nghệ Control Skin nổi bật với vân nổi trên thân giày đá banh adidas. Từ đó giúp cho sự tiếp xúc giữa bóng với mặt giày có kiểm soát hơn. Và cầu thủ có thể hoàn toàn chủ động trên sân với những đường chuyền bóng và dứt điểm chính xác.

Công Nghệ Speed Mesh Của Dòng Giày Đá Bóng Adidas

Công nghệ này giúp tối ưu và giảm tối đa trọng lượng đôi giày đá bóng Adidas với một lớp da mỏng. Chắc chắn giúp cầu thủ cảm thấy “đi như không đi”. Đồng thời hỗ trợ gia tăng tốc độ di chuyển một cách dễ dàng và khả năng xử lý tình huống trở nên mượt mà hơn.

Thiết Kế Giày Bóng Đá Đẹp Mắt, Vô Cùng Đa Dạng

Hiếm có thương hiệu giày đá banh chính hãng trên thế giới nào vượt mặt được Adidas. Về sự đa dạng trong thiết kế mẫu mã. Hầu hết các thiết kế của Adidas đều trẻ trung, thời trang và khỏe khoắn. Nó không chỉ là người bạn đồng hành bảo vệ đôi chân của bạn trên sân cỏ. Mà còn giúp bạn trở nên nổi bật và thời trang hơn.

Với thiết kế đa dạng như vậy, khách hàng có nhiều lựa chọn khác nhau phù hợp với từng mặt sân thi đấu như. Giày bóng đá sân cỏ nhân tạo, giày bóng đá sân cỏ tự nhiên,…Khi mang giày bóng đá chính hãng Adidas. Có cảm giác ôm sát chân vô cùng thoải mái theo từng chuyển động linh hoạt trên sân.

Phù Hợp Với Nhiều Loại Sân Và Vị Trí Cầu Thủ Trên Sân

Với thiết kế đa dạng như vậy, khách hàng có nhiều lựa chọn khác nhau phù hợp với từng mặt sân thi đấu như. Giày bóng đá sân cỏ nhân tạo, giày bóng đá sân cỏ tự nhiên,…Khi mang giày bóng đá chính hãng Adidas có cảm giác ôm sát chân vô cùng thoải mái theo từng chuyển động linh hoạt trên sân.

Ngoài ra, còn rất nhiều mẫu giày phù hợp với từng vị trí trên sân khác nhau. Từ đó giúp tăng mức độ phủ sóng rộng khắp của các đôi giày thể thao bóng đá Adidas trên sân bóng toàn thế giới.

Về giá cả giày đá bóng chính hãng Adidas được đánh giá. Là rất phải chăng phù hợp với chất lượng vượt trội mang lại cho người dùng.

Những Mẫu Giày Bóng Đá Adidas Cỏ Nhân Tạo  Được Yêu Thích Nhất

Giày Bóng Đá Cỏ Nhân Tạo Adidas X

Sản phẩm giày sân cỏ nhân tạo Adidas X được ra mắt trên thị trường từ năm 2015. Đã nhận được đánh giá rất cao từ khách hàng. Có 2 phiên bản: dành cho cầu thủ chuyên nghiệp và giày dành cho cầu thủ tập luyện được phát triển phù hợp với nhu cầu sử dụng của các nhóm khách hàng khác nhau.

Trong đó nổi bật nhất chính là sản phẩm Adidas X Ghosted. Được coi như bóng ma tốc độ. Đôi giày này sở hữu thiết kế độc đáo 3 sọc trên bề mặt giày. Nó được lấy cảm hứng từ cảm hứng từ sải cánh của loài chim ưng – Peregrine Falcon. Con  vật có tốc độ nhanh nhất thế giới đạt đến 322km/h, là biểu tượng cho mẫu giày bứt tốc Adidas X Ghosted.

Giày Bóng Đá Cỏ Nhân Tạo Adidas Copa

Giày sân cỏ nhân tạo Adidas Copa sở hữu thiết kế đẹp mắt với tính năng vượt trội. Đã đưa tên tuổi của Adidas vươn xa. Thậm chí nó còn trở thành đại diện cho hãng Adidas trong thị trường giày bóng đá.

Giày Bóng Đá Cỏ Nhân Tạo Adidas Predator

Giày sân cỏ nhân tạo Adidas Predator sở hữu lịch sử phát triển lâu đời. Tuy nhiên, Predator chỉ thực sự bước lên tầm cao mới khi có cuộc cải tiến vào năm 2018. Sau khi hồi sinh giày bóng đá Adidas Predator, nó đã đạt được nhiều thành tựu đáng nể và được khách hàng trên khắp thế giới yêu thích.

Cách Nhận Biết Giày Đá Banh Chính Hãng Adidas

Adidas đã quá nổi tiếng và trở thành niềm ao ước của tất cả những người yêu bóng đá. Để không mua phải hàng giả, hàng nhái, hàng gia công kém chất lượng. Bạn cần xem xét tỉ mỉ đôi giày.

Đầu tiên là kiểm tra tem giày. Đối với giày đá banh chính hãng Adidas tem giày được in sắc nét. Do dùng mặc chất lượng cao sẽ không bị phai màu. Sau một quá trình sử dụng hoặc gây dị ứng cho da.

Sau đó, bạn cần xem xét chi tiết đường may có sắc nét, đều và chắc chắn hay không? Với giày bóng đá Adidas đế giày có những hạt nở ở bên ngoài, nếu sờ vào sẽ cho cảm giác mềm mại, êm ái và chắc chắn. Form giày chuẩn, khôn, không bị méo mó. Đặc biệt phần lót giày sẽ có mã sản phẩm ở phần đuôi. Bạn hãy xem xét để biết được hành thật và hàng giả.

Tại HT SPORT, chúng tôi chuyên bán giày đá banh chính hãng Adidas với chất lượng tốt nhất. Quý khách hàng có nhu cầu tư vấn và mua sắm vui lòng liên hệ với chúng tôi theo thông tin sau:

HT SPORT – GIÀY ĐÁ BÓNG ADIDAS CHÍNH HÃNG SỐ 1 HÀ NỘI

Hotline: 0988466455 – 09694982660

Website: https://htsports.com.vn/

Facebook: https://www.facebook.com/Giayhangre

Email: mailto:htsports.com.vn@gmail.com

Tiktok: https://www.tiktok.com/@giayhangre

Địa chỉ: Kiot 9 277 Nguyễn Trãi, Phường Thanh Xuân Trung, Quận Thanh Xuân Hà Nội

[wittywinks]

Air - Movie Review

AIR

A movie by Ben Affleck

These days people watch movies while commuting to office, during office hours (shocking, but true!), on road trips, in restaurants while eating, bathing…yes, the list is endless. With the advent of OTT platforms and cheap internet we watch anything, everything and all the time.

But I still prefer the “old fashioned” way of watching movies on weekends. To select something that will make a lazy Sunday noon interesting and entertaining is quite a task at times but I make sure it is worth the wait.

Last Sunday I saw “Air”, a movie based on Nike’s transformation from an also-ran sports shoe company to the leader in basketball shoe sales.

Initially I thought the movie was an adaptation of Nike founder Phil Knight’s bestseller memoir “Shoe Dog” but it isn’t. Instead, it focuses on one of Nike’s foremost employees, basketball talent scout Sonny Vaccaro, played by Matt Damon, who is hired to sign NBA players for marketing their basketball shoe line. Seeing Damon as a middle-aged man with a paunch and a weary face, in simple t shirts and pants working in a typical 80s office setting felt so refreshing somehow. Every other office-based movie or show these days has slick suits, ray-ban shades, super sleek bodies, razor sharp looks with employees looking more like models off the ramp walk than college graduates with degrees.

Along with Matt Damon, the movie boasts of an impressive star cast of –

Ben Affleck as Phil Knight

Chris Tucker as VP of Nike’s Basketball division

Viola Davis as Deloris Jordan, Michael Jordan’s mother

Chris Messina as David Falk, Jordan’s agent

Jason Bateman as Rob Strasser, Director of Marketing at Nike

Matthew Maher as Peter Moore the creative director

Matt Damon is at the top of his game in this sports drama while traits of understated elegance and nonchalance with an unexpected dash of arrogance in Ben Affleck’s Phil makes him a delight to watch. The argumentative verbal banter over telephone (yes, it is the 80s, remember?!) between Matt Damon and Chris Messina is thoroughly entertaining making you chuckle while the depth and grace portrayed by Viola Davis steals the show from everyone around her. Matt Damon’s short, game-changing speech addressing Michael towards the end makes you sit up to listen and process each word as future is unveiled in the form of newspaper cut-outs and headlines on the screen.

A casual scene in office where Jason Bateman as Rob Strasser, laments about his personal life to Matt is so realistic and superbly enacted, that though you may have heard similar conversation before, it emits a high emotional wave. It shows us how little we know about those who we work and spend time with 5 days a week and often for years at a stretch. It made me reflect upon the sacrifices made by so many of us at some point or the other, with respect to our family lives and our personal gratification for our organization, our jobs, for that monthly pay check.

And so, when Matt Damon says to Michael in the end, “Each of us sitting here at this table will be forgotten when our time over here is up but for you” it hits you all the more. It tells you in plain, simple words – most of us are replaceable, forgettable. It makes you realize that legends are born once in a while and are one among millions.

Apart from the serious dialogue exchanges, the movie has its fair share of laughs and witty one-liners as well, especially those delivered by Ben Affleck wearing a deadpan expression. The wonderful comic timing of Chris Tucker and his matter-of-fact life truths gives the movie many light moments. The banter amongst employees as they are discussing, brainstorming or arguing is so natural, you will be able to relate to it instantly if you have ever worked in a corporate environment.

Even though the entire movie is a pursuit of Michael Jordan, Affleck chooses not to show his face even once, adding enigma and arrogance to the then future legend.

Though we all know how the end will pan out, (who hasn’t heard of Air Jordan shoes from Nike, bestsellers since its launch?) the slick editing and smooth direction keep you riveted to the screen. Maybe cause somewhere behind all the negativity in life, we all believe in the power of dreams, no matter how absurd or unattainable they may seem.

With this movie, we get to know and carry with us a story about a legend, or maybe two legends. And isn’t that one of the reasons we watch movies for? To be a part of stories, to peek into the lives of people who seem like us in every way but still so different, so inaccessible, so inspiring.

Watch this movie for its story-line, acting, simple but thought-provoking dialogues, direction, and yes, to see Ben Affleck’s purple Porsche, or rather “grape” coloured Porsche!

[unfoldingmoments]

Air

Nike Principles from Rob Strasser 1. Our business is change 2. We’re on offense. All the time. 3. Perfect results count — not a perfect process. Break the rules: fight the law. 4. This is as much about battle as about business. 5. Assume nothing. Make sure people keep their promises. Push yourselves push others. Stretch the possible. 6. Live off the land. 7. Your job isn’t done until the job is done. 8. Dangers Bureaucracy. Personal ambition. Energy takers vs. energy givers. Knowing our weaknesses. Don’t get too many things on the platter. 9. It won’t be pretty. 10. If we do the right things we’ll make money damn near automatic.

SONNY VACCARO Vaccaro is best known for his tenure with Nike, Inc., where he signed Michael Jordan to his first sneaker deal. Vaccaro left Nike for Adidas, then Reebok. My fav Sonny's speech below: I just can’t understand why kids want to make less money with a rival shoe company. People that know what the hell a Nike is. I always go through the mommas. The mommas run sh*t. I need my job, Sonny. Don’t play.

That slogan came from a convict in front of a firing squad who was asked what his last words were. Just do it.

We’d be better off signing my mom. We need more money. We can’t get f*cking Jordan. I brought you here to grow the basketball business. Basketball’s the future. Is this going to lead to some Buddhist afroism I don’t want to hear?

He’s too small to be that good in the NBA as he was in college. I need you done now. I don’t want to sign three players, I want to sign one. Him. He doesn’t wear the shoe. He is the shoe. The shoe is him.

I do see what you’re doing with this. A shoe is always just a show until someone steps into it. I gotta say, it’s beautiful. Sometimes the most you can do is all you can do. He doesn’t want to be here, but he will listen. I promise you that you have our attention. Young boys got to have some fun too. It’s an American story, and that’s why Americans love it. Once they build you up as high as they can, they are gonna tear you down. A lot of people can climb that mountain, but it’s the way down that breaks them. You are Michael Jordan and your story is going to make us want to fly. Nike has long been in search of its basketball star, we believe you are the star.

Great speech. Emotional. We got ’em. I appreciate that you believe in me, man.

You eat; we eat. That’s all he’s asking. I agree that the business is unfair. You’re remembered for the rules you break. Hey Michael, welcome to Nike. We just signed Michael Jordan! Big steps is how we made this place. I don’t have friends; I have clients. If we ruin the business, at least we had fun doing it. You’re a brilliant guy, Sonny, and you have courage. That is what you do here. Everybody knew.

RIP Visionay Shoe Designer Peter Moore "The first Air Jordan set the standard for footwear obsession in America." — Brendan Dunne, sneaker podcaster ---- PETER MOORE

But Moore spent most of his career with Adidas, where he worked in various executive capacities for more than a quarter of a century. 

Moore died last April after a career of transforming not just the sneaker industry, but global consumer culture, with the power of his imagery. 

He’s best known for his role with Nike. 

Moore worked with company executives to land Jordan as a client at the start of his NBA career in 1984, then worked with the budding superstar to create Air Jordan sneakers.

Among other highly visible contributions to global brand culture, Moore created the Nike Jumpman logo in 1988, now the icon that represents Jordan Brands, and the familiar Adidas three-stripe mountain logo, which debuted in 1991.

Further Reading: Shoe Dog by Phil Knight Documentary: 30 for 30 : "Sole Man", 2015 Sony Vaccaro Netflix: The Last Dance

[glenngaylord]

Swoosh! - Film Review: Air ★★★★

I’m not the world’s biggest sports fan, although give me two weeks of Olympic Games and I’ll watch almost every solo event. I enjoy watching people push past their own limits, seeing the years and years of training right there in the focus of their hard stares and that beautiful release when they stick their landings. Team sports, however, trigger me, sending me right back to gym class where the dumb jocks would knock me down onto the basketball court surface for a rousing game of “Trip-A-Fag”.  I’d always get up, brush myself off and adopt a “You guys!” attitude, but inside, I died just a little bit each time. So is it any wonder I can only stomach the halftime show at the Super Bowl or watch a graceful gymnast execute a perfect dismount as she vies for the gold?

 Despite all of the past trauma, I still enjoy a good sports movie. When Jimmy Chitwood promises to make that final winning shot in Hoosiers, he’s swearing a blood oath to all of us hoping for a better tomorrow. Is it possible to look at the Philadelphia Museum of Art’s entrance steps without thinking of Rocky and the promise the title character represents?

 The same feeling, I thought, must be true for any sports fan who first tried on a pair of Air Jordan sneakers and recognized what it meant to step into the shoes of the most legendary basketball player of all time, Michael Jordan. In Ben Affleck’s fifth feature as a director, Air,  he, with debuting writer Alex Convery, explores the incendiary time in 1984 when Nike sought to sign the then little known basketball player to their company, changing forever the way athletes participated in the profits of products to which they attached their names. It may be your typical David vs. Goliath story, but it’s still a tremendously fun triumph nonetheless.

 The story gets told through the lens of schlubby Sonny Vaccaro (Matt Damon, a far cry from his 2007 People magazine Sexiest Man Alive days, and relishing every bit of it), a sports marketing executive for Nike who we meet as he scouts players for his company’s flailing product line. He has a career going nowhere fast and needs to prove himself. Desperate to compete with the much more popular Adidas and Converse brands, Vaccaro faces an uphill battle when met with a dwindling budget and CEO Phil Knight (Affleck), who doesn’t think they have much of a future with basketball shoes at all. Vaccaro’s fellow marketing pals, led by the wonderfully deadpan Rob Strasser (Jason Bateman) don’t seem to have one good idea, until one evening, Vaccaro watches footage of a young Michael Jordan, replaying a particular shot over and over. Something about the way Jordan handles himself clues Vaccaro into the fact that he was witnessing a once in a generation player.

 Vaccaro springs into action willing to go all in on Jordan. He confers with fellow exec Howard White (Chris Tucker, delightful here) and decides to break some rules to get what he wants. That includes bypassing Jordan’s Agent David Falk (Chris Messina) and going straight to Michael Jordan’s parents, wonderfully played by real live spouses, Julius Tennon and Viola Davis. While Davis delivers a strong performance and gets to the heart of what really matters, that those who get taken advantage of, be they athletes, artists, writers, or any number or people who are not the 1%, deserve their share of the pie, for me, it’s Messina who nearly walks away with the whole film. His Falk, who spends most of his time on the phone, delivers some of the funniest and filthiest arias of anger I’ve heard since Paul Newman put on his hockey gear in Slap Shot. Matthew Maher also proves memorable as Peter Moore, the designer of the original Air Jordan prototype and who arguably came up with the name. His scenes crackle with the awe of a man who loves his own creativity.

 Air has that uncanny ability to maintain suspense despite the audience already knowing the outcome. The entire film has a natural quality which feels like it was made back in the 1980s, like some long lost journalistic procedural. It has this understated aesthetic thanks to Robert Richardson’s unfussy cinematography, William Goldenberg’s well-paced editing which flies by yet allows for grace notes, Francois Audouy’s perfectly muted production design, and especially Charles Antoinette Jones’ costume design, which hilariously nails every pleat on Damon’s khaki’s and every shade of purple on Affleck’s track suit.

 As we follow Vaccaro on his journey, I started to feel something for him and the other characters. Even though this is a story of a corporation trying to stay afloat and probably screw over a young fledgling athlete in the process, it spoke to me about the dream of excellence, of talent, of Black excellence, of breaking the rules to go after what you want. Every character in this films pops and has a chance to shine. Other standouts include Marlon Wayans in a brief scene as a former coach who dispenses great advice to Vaccaro, and Affleck himself, who brings a prickly yet bohemian quirkiness to his big boss character.

 If I had to gripe about anything, and I hate to because this is one funny and sweet film, it’s the fact that it has a surplus of endings and still misses out on one. Earlier in the story, Bateman’s character sets up something so emotional, I was certain it would get paid off in the end. I imagined it in my head, knowing when I saw it, I would cry. In fact, I get teary-eyed thinking about it even now. Yet, the filmmakers decided not to include it, opting instead to overplay their hand with 10 other endings. Oh well, all is forgiven when you can get a guy like me to stand up and cheer for a sports movie like Air.

[nothieflike]

Air (2023)

★★★☆☆

Directed by: Ben Affleck

Written by: Alex Convery

Based on: Actual events

Perhaps not surprisingly, the film this brought to mind most by way of comparison was another Ben Affleck-directed inspired-by-true-evenets movie, 2012's Argo. Both are slickly produced period pieces telling stories whose outcomes are already well established (or at least easily inferred). The trick of both movies is that in Affleck's able directorial hands, there is a genuine air of tension and suspense. Argo covers the 1979 Iranian hostage crisis and the CIA operation tasked with rescuing them. Air covers the efforts of the flagging Nike basketball shoe division in 1984 as they try to convince young Michael Jordan to sign a shoe deal with them despite his preference for Adidas. In Argo, we know the hostages will be rescued so the operation will succeed. In Air, we know the Jordans will make the deal, and yet somehow the pre-determined outcome doesn't feel foregone while watching either.

The story follows Sonny Vacarro (played portly but exquisitely by Matt Damon), who is Nike's in-house basketball ambassador. The Nike basketball division in these years is getting clobbered by Converse and Adidas and Nike's board of directors is pressuring CEO Phil Knight (played as mystifyingly complex by Ben Affleck) to focus more on their bread-and-butter business: running shoes.

Marketing Exec Rob Strasser (Jason Bateman playing Michael Bluth again only without the convenient scapegoat of, well, the rest of the Bluths) is content to stick to their old losing strategy of picking up sponsorships for a few third tier players but Sonny wants to make a hail mary run at getting projected third round pick in the draft, Michael Jordan, by eschewing the diversification angle and blowing their whole budget on the one player.

The biggest obstacle to this is that Jordan has publicly and definitively stated he has no interest in working with Nike. Sonny then spends the first half of the movie slowly convincing everyone around him, Strasser, then Knight, that the plan has merit. The second half of the movie focuses on the dance between Sonny and Michael's mother, Deloris (played with room-shattering gravitas by Viola Davis) to give Nike a fair shake. The uphill climb and Sonny's shifting, ballsy strategies to overcome each hurdle are what make the movie really shine and the scenes with Damon and Davis are electric.

Some of the details of the creation of the iconic first edition Air Jordan are featured as well including a memorable performance by Matthew Maher as in-house shoe designer Peter Moore. Chris Messina also turns in a fun, over-the-top turn as Jordan's agent, David Falk. The one somewhat mystifying inclusion in the cast is Chris Tucker as Howard White. Tucker is... fine, doing more or less his usual hyper-verbal Chris Tucker thing, but the character brings very little to the overall narrative. Marlon Wayans's brief appearance as George Raveling is more impactful to the story and feels like the kind of character that would have been merged with White in a cleaner version of the script, but I understand one of real-life Michael Jordan's stipulations to Affleck was that White (a friend of Jordan) be included as a character in the film. I guess that makes Tucker's presence a necessary mistake?

The acting is universally excellent and the script and direction work in tandem to set just the right pace to give the story room to breathe while not bogging down with unnecessary side plots or belaboring the point. Like Argo, this isn't a flashy film that will make you want to rush out to see it again or even stick with you for a long time afterward, but it's got a lot going for it. That said, a couple of minor details did irk me a little. The way Michael Jordan himself is handled in the film is a bit peculiar; he's present in the film but fleetingly and Affleck goes a long way out of his way to keep the stand-in actor's face hidden from view and he says maybe two lines. I get that de-aging or deepfake style CGI (such as with the Luke Skywalker scenes in The Mandalorian) was probably out of scope for the project, but I think I'd have preferred to just let the actor be seen. The other small gripe is there is a framing device using what I presume are some of Phil Knight's zen koan-esque business strategies as title cards. I don't know much about the real life Phil Knight but the film portrays him a bit unevenly, making him out to be both a bit of a maverick-guru as well as kind of a dippy hack. It wasn't clear if I was meant to see the title cards as sage advice responsible for the unbridled success of Nike the company or if my initial eye-rolling reaction to them was in fact correct. Either way, it was a small directorial or editorial decision that I thought added very little to the end product.

I went in thinking, "Okay, it's a free movie, it only has to be worth the couple of hours" and I walked out thinking, "That was more than just worth the time, I genuinely enjoyed that." I recommend the movie, it doesn't have anything particularly revelatory to say or an edgy take on a particular moment that matters mostly to sports fans, shoe collectors, and I guess Nike fans, but it's a well crafted film that provides great entertainment value, even if it weren't free.

[ziadanworld]

9 افلام مثل فيلم Air 2023 شاهدها الآن | توصيتنا

‘فيلم Air‘ هو فيلم درامي رياضي مبني على أحداث واقعية أدت إلى إنشاء خط أحذية Nike’s Air Jordans ، والذي بدوره ساعد في إطلاق Nike في العلامة التجارية الضخمة الناجحة كما هو عليه اليوم. الفيلم من إخراج بن أفليك ، الذي يلعب دور البطولة فيه إلى جانب مات ديمون ، وجيسون بيتمان ، وفيولا ديفيس . بعد نزول مطرد إلى الإفلاس ، قام رئيس شركة Nike Inc. Rob Strasser والمؤسس المشارك Phil Knight بتعيين Sonny…

[disappointingyet]

Air

Director Ben Affleck Stars Matt Damon, Viola Davis, Jason Bateman, Ben Affleck, Chris Tucker USA 2023 Language English, a tiny bit of German 1hr 51mins Colour

When Mike met Nike

It might be worth mentioning at the start that the shoes with probably the most screen time in this movie are the squidgy, comfortable brown leather ones worn by Matt Damon’s schlubby character. In other words, if you’re here for some Air Jordan sneaker fetishism, you’re in the wrong place. This is a movie about a business deal, one that just happens to have resulted in the most famous line of sports footwear ever. And since the vast majority of the audience will know the outcome of that deal, the film puts in a lot of effort into trying to convince us that there are real stakes here. That’s tricky, since you could argue what happened was that a guy who was on course to becoming insanely rich became unimaginably wealthy instead, and an already successful corporation become one of the world’s most identifiable brands. Quite late in proceedings, almost as a twist, we’re handed the idea that something more important is in the mix – I didn’t really buy that.

It’s 1984, and the teams of the National Basketball Association have just picked from the best available college players in the annual draft. At which point, the big sports brands compete for the endorsements of the top prospects. We’re told that Converse are the dominant force in basketball shoes, followed by Adidas with Nike a distant third. As the big guys will scoop up the most likely stars of tomorrow, Nike aim to be smart with the next-best-things, signing up a trio each year to spread their chances, since some players will inevitably struggle with the transition to the professional game while others will get injured.  

But this year, Sonny Vaccaro (Matt Damon), Nike’s chief basketball scout (and, as we’ve learned, a keen gambler) suggests a different approach: chucking their whole budget at one player. And the player he decides on is Michael Jordan – as the number three pick in the draft, he was hardly an underdog, but nor was he considered the surest of sure things. Sonny has to convince Rob Strasser (Jason Bateman), the director of marketing, and Phil Knight (Ben Affleck), Nike’s founder and CEO, as well as the Jordan camp.

And that’s it, really. Although the person at the heart of this deal is one of the most electrifying athletes of our lifetimes, the film mostly consists of badly dressed middle-aged (predominantly) white guys in dingy offices. As a director, Ben Affleck seems to be aiming to keep things simple here – he doesn’t do much to try make this very talky film particularly cinematic. When I think back on the film, I’m remembering exteriors of unexciting office blocks, interiors of a darkened canteen…

Michael Jordan himself gets the treatment that’s generally used for either religious figures or real-life criminals in movies: he’s present at meetings but we never see his face, just the back of his head or a shoulder. (Apart from archive footage of the man himself, that is.) Instead, his negotiations are handled by his mother Deloris (Viola Davis).

Davis is terrific – when she’s on screen, the film comes alive. But we don’t really get enough of her. The other enjoyable performance comes from Chris Messina as Jordan’s shark of an agent – the one well-dressed middle-aged white guy. Damon, meanwhile, is fine but there’s nothing particularly unusual about him playing this potatoey but determined guy.

There’s a big panic in some film circles about the decline of the non-franchise mainstream movie. This feels very much like an attempt to answer that problem – it’s a Damon/Affleck flick. It’s to do with a very famous product and the very famous person who lent his name to it.

The positioning to me is summed up by the soundtrack, which is packed with super-obvious hits of the day, starting with Dire Straits’ Money For Nothing and carrying on with stuff like ZZ Top’s Legs, filled out not by a purpose-written score but assorted Tangerine Dream tracks. Like the film itself, the choice of tunes leans quite white considering that Jordan – and the kids who made the sneakers super cool – were not. (One predictable exception, considering the subject matter, is Run DMC’s My Adidas, both played and discussed by the characters although in reality it didn’t actually come out until 1986.)

Is Air a pretty painless way to spend a couple of hours? Yes. Is it the best film Ben Affleck has directed? No. Will it work if you know absolutely nothing about basketball? I think so.* Is this a corporate-cheerleading film that right near the end clumsily tries to position itself as something deeper? Yes. For the art of the deal stuff, are you better off rewatching an episode of Mad Men? Yes. And for any kind of insight into the bizarre (but obviously ridiculously successful) world of Michael Jordan himself, watch The Last Dance. *As it happens, the only period of basketball, particularly college basketball, I know anything about is exactly this one – I was reading Sports Illustrated magazine and watching the odd game on TV in the early 1980s. That came to an abrupt stop when we moved back to the UK in summer 1984 – so although I knew who Michael Jordan was, it was through the sneakers and their presence in hip-hop and Spike Lee movies that I experienced his phenomenon. 

[heydivai]

AIR (2023)

Sebuah catatan yang dibuat setelah menonton.

Rabu 5 April 2023 saya menonton film berjudul AIR di DP Mall XXI, satu-satunya bioskop di Semarang yang menayangkan film ini. Kalau hanya melihat judul dan posternya, saya akan mengira film ini tentang isu lingkungan hidup dan pencemaran udara. Setelah saya baca beberapa tweet tentang film ini, saya baru paham bahwa judul "AIR" mengacu pada produk sepatu Nike, yang oleh masyarakat dikenal sebagai sepatu "Air Jordan." Film berdurasi 112 menit ini garis besarnya tentang perusahaan sepatu Nike yang berusaha menggaet pemain bola basket terbaik sepanjang masa, Michael Jordan. Singkatnya, film "AIR" ini semacam cerita historis atau sebutlah behind the scene terciptanya sepatu yang termasyhur, Air Jordan.

Film dibuka dengan video montage yang memuat referensi pop culture tahun 1980an, tentu saja keputusan ini dibuat karena setting cerita "AIR" adalah tahun 1984, tahun yang sama ketika Nike berhasil deal dengan Michael Jordan dengan kontrak seharga USD 250,000. Kemudian muncul wajah Matt Damon yang berperan sebagai Sonny Vaccaro, sedang menonton pertandingan basket. Film kemudian bergulir memperlihatkan Matt Damon di kantor Nike sambil diperkenalkan karakter pendukung lain : Ben Affleck sebagai CEO Nike Phil Knight, Jason Bateman sebagai Rob Strasser, Chris Tucker sebagai Howard White, dan tentu saja Viola Davis sebagai Deloris Jordan, ibu Michael Jordan. Sepanjang film, premis hanya seputar satu hal : bagaimana membuat Michael Jordan mau menerima tawaran kontrak USD250,000 selama 5 tahun dari Nike. "I want Jordan. It has to be him," kata Sonny Vaccaro.

Yang saya kagumi adalah bagaimana filmnya bisa stay focus ke premis ini. Sonny Vaccaro hanya ingin Michael Jordan. Sedangkan di waktu yang sama Michael Jordan juga dilirik Converse dan Adidas yang notabene harga sahamnya jauh di atas Nike, sehingga makin pelik saja usaha yang dilakukan Sonny untuk dapat deal, ditambah CEO dan direksi Nike juga tidak mau mengeluarkan budget lebih (budget USD 250,000 awalnya untuk 3 atlet, tapi Sonny Vaccaro minta nego bahwa uang sejumlah ini hanya untuk satu atlet saja : Jordan). Film "AIR" hanya berkutat di seputar masalah ini saja, tapi anehnya saya tidak bosan. Mungkin karena banyak humor di sepanjang durasi. Film AIR mampu membuat saya terpaku pada betapa seriusnya kontrak USD250,000 namun di sisi lain saya juga dibuat tertawa dengan kelucuan yang diciptakan.

Keren banget lah, pokoknya.

Jajaran pemain di film ini adalah nama besar yang sudah beberapa kali menyabet award. Kualitas aktingnya sempurna. Bicara soal aktor, sama sekali tidak ada sekelibatan sosok asli Michael Jordan di film ini. Sutradara menunjuk aktor lain yang memerankan 'figur' Michael Jordan tetapi sama sekali tidak diperlihatkan wajahnya di sepanjang film. Pada setiap adegan ketika keluarga Jordan datang menemui petinggi Adidas, Converse, dan Nike, kamera hanya memperlihatkan siluet 'Michael Jordan' dari belakang, samping, cara berjalan, maupun hanya tangan. Bahkan bersuara pun tidak. Satu-satunya wajah Michael Jordan yang dipampangkan di layar adalah yang diambil dari klip pertandingan NBA maupun berita. Dan menurut saya ini adalah cara brilian, karena bagaimanapun film AIR adalah tentang Nike dan brand sepatu Air Jordan, bukan film tentang Michael Jordan.

Dengan skrip yang solid, plot yang mampu mengikat penonton, akting yang tidak diragukan, serta detail visual yang menarik, saya menilai film ini dengan bintang 5. Salah satu film penting dan cetar..r di tahun ini yang harus banget disaksikan.

Best regards,

HeyDivai

[greensparty]

Movie Review: Air

It is kind of ironic that the Academy Awards that Ben Affleck has won are for writing (for Good Will Hunting with Matt Damon) and producing (as a producer on Argo), but he’s a superstar known for acting and directing...yet he hasn’t won for acting or directing. When he was a young ambitious actor from Boston and then in NYC, I met Mr. Affleck in 1997 when he joined Kevin Smith for a screening of Chasing Amy (one of his best performances). He was really nice and he was getting ready to film GWH that month. Since the success of GWH, everyone has been hoping for a Damon / Affleck reunion. While they have produced several films and TV shows together and they co-wrote Ridley Scott’s The Last Duel, they’ve only done small supporting roles together (mainly in Kevin Smith films). Now with their Artists Equity production company, they are back together again producing. But the super exciting news is Air, directed by Affleck and starring Damon and Affleck and a tremendous ensemble cast. By this point the two are one of the great on-screen duos and since GWH and Affleck has become quite a director in his own right. 

movie poster

In this biopic, Sonny Vaccaro (Damon) is a sales exec at Nike, which in 1984 is the lowest-selling sneaker. As the company is trying to court some basketball players for some endorsement deals, Sonny has the bright idea instead of getting three or four rookies, they take their entire budget and see if they can get rookie Michael Jordan. With the help of Nike execs Rob Strasser (Jason Bateman), Howard White (Chris Tucker), and CEO Phil Knight (Affleck), they try to pursue that. Sonny is so serious, he even goes to Michael Jordan’s mother (Viola Davis) to pitch her to see if they can pitch her son.

the Air Jordan sneaker from 1984

While it is a very different story than Argo, Affleck approached this in a similar way: both are biopics taking place in the director’s lifetime but very different than the world in 2023, both films get right into the world of the protagonist and initiate the stakes and both films build to those stakes, and both are stories the average viewer will know the outcome going into it, but will be on the edge of their seat the whole time! This is a sports movie without the sports, it’s the sales and marketing that is more competitive than professional sports and it’s the first great movies of 2023! I also loved how it was edited like an 80s movies and he even pulls soundtrack music from Harold Faltermeyer and Tangerine Dream (along with tons of 80s hits). Damon is very likable and the viewer is rooting for him to make it happen. Obviously we are viewing this movie from the perspective of knowing that the Air Jordan shoes are one of the most successful shoes ever and that Jordan himself is one of the biggest athletes of all time, but this isn’t so much about the ending as it is the inner workings of how they get there and the need to make a big gamble that just might payoff. The supporting cast is quite impressive notably Davis who keeps a poker face the whole time, but is quietly orchestrating the master plan. Argo is still my favorite movie Affleck has directed, but this one is insanely awesome! Maybe he’ll finally score a directing or acting Oscar.

Affleck directing

For info on Amazon Studios’ Air: https://www.amazon.com/AIR-Matt-Damon/dp/B0B8Q3JMCG

4.5 out of 5 stars

[sixty-silver-wishes]

so because I am a Nerd, I will now be explaining all of these as I cook some soup lol

Tier 1-

Conrad Veidt: the actor who played Cesare and the “face” of this film. He’s also well known in roles such as Strasser in Casablanca and Gwynplaine in The Man Who Laughs. Aside from his remarkable acting range, Veidt was well-known for his anti-fascist views and philanthropy during WWII.

Frame story- “Caligari” is known for being one of the first films to employ a frame story narrative device- that is, having a story within a story.

Influences on horror- As one of the first horror films, “Caligari” has had a sizable influence on much of the later horror genre, from its sets, to its lighting and filming techniques, to its plot details.

Tim Burton- Tim Burton’s art style is heavily influenced by the aesthetics in “Caligari.”

Bauhaus album cover- (technically for their single, not the album, lol). The artwork for “Bela Lugosi’s Dead” by the band Bauhaus features a still from “Caligari” with Conrad Veidt and Lil Dagover as Cesare and Jane. (Bela Lugosi is not in the film at all.)

WWI metaphor- The film is commonly interpreted to be a metaphor for German culture and social hierarchies during WWI.

Expressionist set design- The set design in “Caligari” is commonly said to follow the German Expressionist art style, but there is some debate on whether or not “Caligari” is truly an expressionist film (see later tiers.)

Bigtop Burger- This popular web series includes characters heavily based on some of those in “Caligari.”

Tier 2-

Interpretations of ending- The ending of the film is a common subject of debate, as to whether or not it’s pro- or anti-authority.

Mise en scene- The set design in “Caligari” is commonly considered an early example of exploring mise-en-scene in film, or the intentional arrangement of set elements, like props and furniture. Mise en scene is more commonly associated with theatre.

Censored ending- As the original ending of the film was considered too subversive, it was censored so that francis was portrayed as insane at the end, much to the chagrin of the screenwriters.

Queer/freudian interpretations- this film is very often interpreted through lenses of queer and freudian theory, which examine gender and sexuality, as well themes such as the subconscious and various complexes proposed by sigmund freud, respectively.

Schopenhauer- Caligari’s costuming was based on the appearance of philosopher Arthur Schopenhauer.

Painted lighting- The sets in “Caligari” included shadows and highlights painted directly onto the backgrounds, sometimes used to point towards important characters or plot devices.

Slappy Daze- Episode of Spongebob Squarepants which features cameo characters based on Caligari and Cesare. This episode also includes F. Murnau’s Nosferatu, as well as the character Slappy, whose design was based on actor Peter Lorre.

Umbrella carousels- The carousels seen spinning at the beginning of the film are actually umbrellas being rotated by people, who are concealed by the rest of the set. (This is also my favorite instance of practical effects in the film.)

2005 Caligari- “Caligari” was remade as an indie horror film in 2005, starring Doug Jones as Cesare. (It’s laughably bad.)

Siegfried Kracauer- A film theorist who proposed, among other things, that “Caligari” foreshadowed the Nazi regime. His theories on the film are some of the most well-known, but also among the most contested by scholars.

Nicholas Cage- The actor Nicholas Cage is a fan of the film, and even planned a tribute to it in “The Unbearable Weight of Massive Talent.” However, the scene referencing “Caligari” was cut.

Living Dead Girl- The music video for this song by Rob Zombie is inspired by “Caligari.”

Silent Screamers- A series of figurines based on silent horror characters. The set includes figurines based on Cesare and Caligari (and Jane, who’s just sort of an accessory to the Cesare figurine.)

Werner Krauss- The actor who played Caligari. He went on to star in many pro-Nazi films during the 1940s, often as offensive Jewish stereotypes. He is often contrasted with Conrad Veidt, his former co-star who played antagonistic Nazi characters in American and British films to support the allied forces.

Unfortunate Events- The 9th book in “A Series of Unfortunate Events” by Lemony Snicket (aka Daniel Handler) features a location called “Caligari Carnival.” The film is further referenced in the Netflix series, where the character Madame Lulu says, “don’t touch Caligari Cabinet!” Additionally, this episode in the series also references another famous classic film, “Freaks” (1932), and F. Murnau’s name is referenced in another episode.

Tier 3-

American cut- An American cut of the film was created in the 1950s, where some scenes of the film were shortened. Most of the characters’ names were also omitted in the opening credits.

Stage adaptations- Various stage adaptations of “Caligari” have been staged, usually by small theatre companies or universities. These include operas, plays, musicals, and a ballet.

Jane/Cesare parallels- The characters of Jane and Cesare share many parallels with regards to their roles in the story and how they’re framed. This is something you’ll have to dig a little for if you want to read formal criticism (although it exists), but it’s a fascinating interpretation that I love to discuss.

Von Twardowski- Hans Heinrich Von Twardowski, who played Alan, also stars in another Robert Weine film, “Genuine.” He’s also in “Casablanca” along with Conrad Veidt.

Caligari 1962- This film bears very little resemblance to the 1920 version, aside from some plot points and character names.

Production history- Many elements of the film were allegedly based on events in the lives and experiences of screenwriters Hans Janowitz and Carl Mayer. These alleged influences include a military psychologist who examined Mayer, who feigned insanity to avoid the draft, as the basis for Caligari, and Gilda Langer's early death being predicted by a fortune teller (see later).

Restorations- Different restorations of “Caligari” exist, with varying degrees in quality.

“Looks like Cesare”- refers to a TVtropes trope, in which distinct elements of Cesare’s costuming are visible in later characters throughout media. A common example is Tim Burton’s Edward Scissorhands.

Anachronisms/electricity- “Caligari” is extremely vague on when it takes place, with the costuming, architecture, and technology being very inconsistent. It’s been placed as taking place anywhere between the Medieval era to the 1920s. The use of electricity in the film is highly inconsistent, as fire torches, gas lamps, and electric lighting are all shown being used in different scenes.

Ernst Deutsch/Gilda Langer: These two actors were initially considered for the roles of Cesare and Jane, respectively. However, Deutsch was busy at the time, and Langer died before the film could be made. The roles instead went to Conrad Veidt and Lil Dagover (if you’re curious, Deutsch’s acting can be seen in Der Golem, in which he plays Rabbi Loew’s assitant).

Autobiographical influences- see production history.

Expressionism debate- There’s a scholarly debate as to whether or not “Caligari” is actually expressionist beyond its set design, with some people saying the plot is better categorized as “gothic,” comparing it to the works of Edgar Allan Poe.

Robert Wilson- This theatre director’s style of sets, acting, and makeup is heavily influenced by “Caligari” and related films. His play “The Black Rider” is an obvious example of this (watch The Black Rider. I love The Black Rider)

Krauss’ script- For a long time, Werner Krauss was in possession of the sole surviving script of “Caligari,” but refused to let anyone see it until after his death. The script contained some elements of the film that were either changed or scrapped (see later).

Fritz Lang- This famous director (M, Metropolis, Dr. Mabuse) was initially planned to direct “Caligari.” However, the film was directed by Robert Weine instead.

Das Kabinette- An album by Bill Nelson, which was originally composed as a new score for the film.

Tier 4-

Audio dramas- Two audio dramas of “Caligari” exist, one by the BBC and one by Yuri Rasovsky. (I don’t care for either, but I prefer the BBC one.)

Deleted scenes- Some deleted scenes in the original film draft include Cesare convulsing violently after being woken up at the fair, Alan’s ghost at his funeral, Jane and Francis being a married couple and telling the story at their house instead of in an asylum, and the “kidnapping scene” initially being more graphic and sexualized than in the final film. Some set pieces, such as a moving caravan and Jane’s carriage, were initially planned, but removed due to the film being shot in an indoor studio. An alternate ending was also planned, in which Jane and Francis silently contemplate a monument to Caligari and his victims.

“The Madness”/ “The Asylum”- Two books based on elements of “Caligari.” These books are not adaptations of the film, but I included them because of the influence.

Takes place in fall- This is a detail that's only mentioned in the original script. Some people also consider the traveling carnival to be in celebration of Oktoberfest, but this isn't confirmed.

Diary of a Somnambulist- a theatrical performance piece from 1986 featuring portrayals of Cesare and Lady Macbeth, of all people. Truly the crossover of all time.

Dr. Luders/Jakob Straadt- Characters in the film whose names only appear in the script. Dr. Luders is the town clerk, while Jakob Straadt is the man who tries to kill the old woman and is arrested.

Concept sketches- Various sketches and concept art for the costumes, makeup, and sets still survive.

1913 Holstenwall murder- Allegedly, a woman was murdered by the Holstenwall, or a section of Hamburg's wallring, by the Reeperbahn (a famous red light district) in 1913. While this event has not been documented to my knowledge, the screenwriters of "Caligari" claimed that this event served as inspiration for naming the town in the film "Holstenwall." Youtube musical- A musical adaptation of "Caligari" exists on Youtube (there are actually two or three, which can all be found easily with a search). The one in question has just the songs uploaded, along with animatics made of photomanipulated film stills. The songs are quite high effort, and they've got some good singers (especially their Jane and Francis) but in my opinion, the plot isn't great. However, it did give us "they are accompanied by Francis, who beats Cesare to death with a club," which was iconic.

Hentai manga- Yep; it exists. This was written by the controversial manga artist Suehiro Maruo.

"Dr. Caligari" 1989- Another film only loosely based on the original, using the name "Dr. Caligari," but having little to no other similarities to it. It's primarily known for its sexual elements.

"Cabinet"- The word "cabinet" in the title (spelled with a "c" instead of the German "kabinet" even in the German title for some reason) does not only refer to the literal cabinet that Caligari keeps Cesare in, but could also be used to refer to a sideshow exhibit as a whole (as in "cabinet of curiosities").

"The Cabinet of Dr. Ramirez"- A little-known adaptation by Peter Sellars. Similar to most of the other film derivatives, it shares little similarities with the original film.

Tier 5-

"The Return of Caligari"- this was an unrealized follow-up to the original film proposed by screenwriter Hans Janowitz in the late 1940s. The film would have been produced by a British studio and would have employed sound, whereas the original was a silent film. I've also read that in this version, Caligari was intended to be a former Nazi officer. I'm not sure if this was to be a sequel to the original film, or a remake, or if any other characters from the original were intended to appear.

Caligari's Cure- Another film derivative by Tom Palazzolo. Once again, aside from the title, it shares little to no similarities with "The Cabinet of Dr. Caligari."

Caligari Foxtrot- A short piano piece inspired by the film that was composed around the time of its release.

Cocteau Remake- Another failed remake that was never realized. A French version was proposed, with actor and director Jean Cocteau in the role of Cesare. It would also have employed a French surrealist aesthetic, as opposed to the German expressionism of the original.

Character names- In the original script, many of the characters' names were spelled differently than they appear in the final film- for instance, "Calligaris" instead of "Caligari," "Alland" instead of "Alan," and "Caesare" instead of "Cesare."

Unknown Letters of Stendhal- An alleged book that the screenwriters claimed they got the name "Caligari" from. However, no such book has been proven to exist.

Honorable mentions:

These are things I either forgot to include or can be categorized with the above points, but are still interesting enough to point out:

Marketing- Before the film was released, it was marketed by posters that read "Du musst Caligari werden" ("you must become Caligari," a plot-relevant line in the film) being posted around Berlin with no other context. The idea was that seeing this line everywhere without explanation would create a sense of intrigue, and encourage people to see it. (I, for one, think this is a brilliant marketing scheme that should be utilized more often today. Internet theorists would have gone CRAZY if the marketing for Infinity War was just the line "you should have gone for the head" posted everywhere.)

Other Musical Works- The two other musical works available on Youtube are "Cesare, Child of Night," a short rock opera, and "The Cabinet of Dr. Caligari: a Murderous Musical Comedy," a three-hour production which was partially staged as a workshop. (Personally, I don't care for either, especially the latter's treatment of Jane's character, but that's just me.)

2022 Play- Also among the staged works is a play written in 2022, the script of which is available for purchase on Google Books. In this play, the actors all alternate roles, so nobody plays just one character.

Scores: Various musical scores have been composed for the film.

Caligari Protest: The Hollywood Post of the American Legion organized a protest of the American premiere of "Caligari" at Miller's theater due to anti-German sentiments after WWI. Allegedly, this protest escalated into a riot. The protest was successful, with "Caligari" being replaced by an American film, "The Money Changers." However, "Caligari" was widely received popularly by both French and American movie critics.

caligari iceberg! all of these refer to either interpretations of the film, its production and history, works/artists inspired by it, or adaptations of it.