I’m not sure Errol Morris is a sports fan. As I watched the second and third installment of his six part series of short films on Grantland, it became increasingly clear to me that Morris is in this primarily for humor. The Heist and The Streaker, like the first film in the series, The Subterranean Stadium focused exclusively on the strange behavior of non-athletes.
The Heist tells the story of four Duke men’s college basketball fans who sneak into the stadium of their arch-rivals, the North Carolina Tarheels, and steal a ceremonial jersey which was hanging on the rafters. There’s a tradition in American sports of honoring a great player by “retiring” his or her jersey. Once a jersey is retired, no one on that team can use that jersey number again. To symbolize this, a giant jersey is ceremonially hung from the rafters of the stadium. In this case, the number was 23 and the player was Michael Jordan. The four Duke fans, who remain nameless throughout the film and whose faces and voices are are obscured, concocted a plot to sneak into the stadium, steal the jersey, and then reveal it during a game between the two team, temporarily modified to support Duke instead of North Carolina. This simple, sophomoric prank goes smoothly, although the hoped for reveal never happens. It’s not, by itself, an extremely interesting subject for a short film but Morris clearly enjoys himself applying all of the tropes of a true-crime film to this nominally illegal act.
The hijinks continue in Morris’ third film in the It’s Not Crazy, It’s Sports series with The Streaker. Mark Roberts, the eponymous streaker who gives the film its name, is the world’s most famous streaker. He has streaked at every major sporting event and despite the fact that police forces and security companies all over the world know who he is, he manages to keep doing it. Now in his fifties, he’s still blithely unapologetic about what has become his life’s work. To my disappointment, Morris does not press him on the real potential danger of allowing or encouraging other people to run onto the field. I would have been fascinated to hear what Roberts said if confronted with questions about the times when a fan has run onto the court with violent intent, like the fan who stabbed tennis star Monica Seles in 1993. Instead, we get more high-spirited frivolity, including Roberts’ answer to the question, “would you want to die while streaking?”
I can’t say that I haven’t enjoyed these short films but I am mildly disappointed so far. Morris is such a wonderful film maker and interviewer but I feel his choice of topics is limiting the quality and meaning of these films. In my review of the first film, The Subterranean Stadium, I enjoyed how Morris used a light-hearted subject to examine deeper and more emotive aspects of real life. That second level was missing in these two films for me. What did you think?