The 1971 film Brian’s Song, starring Billy Dee Williams and James Caan, left an indelible mark on viewers, offering a poignant and moving story that felt genuinely earned. Upon watching it, the film seemed like a definitive telling of this narrative, leaving little room for improvement. Unfortunately, the existence of a 2001 remake proves that some cinematic masterpieces are best left untouched, echoing Roger Ebert’s sentiment: “Why are they remaking the good movies? Why not remake the bad ones?” This remake serves as a stark reminder of why some classics should remain in their original form.
This updated Brian’s Song unfortunately falls flat on nearly every level. From its weak script to underwhelming performances and awkwardly constructed scenes, it struggles to capture the heart of the original. A significant misstep lies in its casting choices. While the 1971 film navigated the racial dynamics of its time with a nuanced honesty, the remake appears overly cautious, prioritizing political correctness over authentic representation. This delicate approach ultimately undermines the realistic portrayal of the era it attempts to depict.
James Caan’s portrayal of Brian Piccolo in the original film was that of a genuinely likeable and spirited individual, full of humor and zest for life. In stark contrast, Sean Maher’s interpretation in the remake is jarringly off-key. He presents Piccolo as grating, ill-mannered, and judgmental, completely missing the charm and warmth that defined the character in the original Brian’s Song. Similarly, Mekhi Phifer’s Gale Sayers feels miscast, coming across as arrogant and detached, reminiscent of a Deion Sanders persona, rather than the quiet athlete depicted in the original. The remake’s Sayers embodies a sense of aloofness, perceived by other players as “uppity” and conceited, a far cry from the shy and reserved nature of the real Gale Sayers.
Billy Dee Williams masterfully captured the essence of Gale Sayers in the 1971 Brian’s Song. He portrayed Sayers as a reserved, unassuming, and gentlemanly man, whose shyness stemmed from a difficulty in connecting with others. Ideally, casting for the remake should have sought actors who naturally embodied the personalities of these iconic players – perhaps someone like Rob Brown for Gale Sayers and James Vanderbeek for Brian Piccolo, to better capture the original spirit.
The coaching staff in the remake is depicted as cold and impersonal, devoid of the affability, personality, and empathy that one might expect. Ben Gazzara’s portrayal of George Halas is particularly unconvincing, resembling a stern priest more than a seasoned football coach. Furthermore, the dialogue throughout the remake is often heavy-handed and expository, explicitly stating information that is already evident to the audience. Characters frequently sound like actors reciting lines, forcing information upon the viewer, rather than engaging in natural, heartfelt conversations.
For instance, in a clumsy attempt at emotional depth, Joy Piccolo remarks to Brian about Gale’s rookie of the year acceptance speech, stating, “He’s not arrogant, he’s shy.” This line serves no purpose, reiterating something the audience has already discerned. Another example of unnecessary dialogue occurs during Brian and Gale’s rehabilitation run. Their on-screen conversation spells out their anxieties and aspirations – Gale’s worries about life after football and Brian’s eagerness to contribute to the team. The original Brian’s Song wisely avoided such explicit dialogue, trusting the audience to grasp these nuances without being spoon-fed information. Truly effective films understand the power of showing, not telling.
Finally, the evocative instrumental version of “The Hands of Time,” a beautiful musical piece, significantly enhanced the emotional depth and impact of the original movie. Its absence, or underutilization, in the remake is a missed opportunity. Music, when skillfully employed, can amplify the emotional resonance of scenes and elevate the overall narrative, a lesson the remake seems to have overlooked.
Ultimately, this remake of Brian’s Song leaves much to be desired, proving that some stories, especially those as powerfully told as the original, are best left untouched. For those seeking a truly moving and timeless sports film, the 1971 Brian’s Song remains an undisputed classic and a far superior cinematic experience. The remake, unfortunately, stands as an unnecessary endeavor that fails to capture the magic of its predecessor.
