When the actor Thomas Hulce was preparing to play the film role that defined him, “Amadeus,” he read about Mozart, but he truly studied the tennis star of the day, John McEnroe. Who better to model a precocious brat of a composer on than the player the world nicknamed “SuperBrat?”
“I’m a vulgar man,” Hulce’s Mozart admits in the film, “I assure you my music is not.”
The McEnroe analogy is almost too obvious.
When filmmaker Julien Faraut was plumbing the archives of French sport for a documentary about Gil de Kermadec, the government cinematographer charged with capturing close-up footage of every year’s French Open Tennis Championships in the ’70s and ’80s, he found reels of every great players of the era — Borg, Vilas, Connors and Lendl. And he found reel upon reel of John McEnroe.
Kermadec was putting together instructional films out of this footage, and…
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