Since The Curious Case of Curt Flood and The Franchise premiere on the same night, many viewers will use the opportunity to watch them like a baseball (documentary) double-header. And inevitably someone will wonder: Flood's sacrifices paved the way for the lavish lifestyles of these goofballs? I liked both documentaries (being a Giants fan probably made me more forgiving of the flaws of the fluffy The Franchise), but the scorecard will favor HBO, which hits a homer with the Flood documentary, while the less polished Showtime—still trying to train its eye and groove its swing—bangs out a solid single.
With The Curious Case of Curt Flood, HBO weaves the tapestry of a complex man and a complex story. Flood is an enigma who is intelligent, secretive, infuriating, oddly loveable, and fatally flawed. His friends, family, lawyers, team-mates, legal opponents, and ex-girlfriends are more than happy to give their painfully honest perspective on his life. As the documentary begins, Flood says, "In the history of man there's no other profession except slavery where one man is tied to one owner for the rest of his life. In slavery they can ship you from one plantation to the other. In baseball they do the same thing. They ship you from one franchise to the other depending on the whims of 24 millionaires...I don't want anyone to own me." His fellow players were ambivalent at best about Flood's quest for free agency, which would eventually enrich major leaguers. In October 1969, he was traded along with catcher Tim McCarver, outfielder Byron Browne and left-hander Joe Hoerner to the Phillies for first baseman Richie Allen, second baseman Cookie Rojas and right-hander Jerry Johnson. Flood refused the trade, petitioning Commissioner Bowie Kuhn to declare him a free agent. Kuhn--citing baseball's reserve clause, which kept a player bound to his original team--refused. Flood sued baseball, essentially ruining his career and leading to epic financial and personal problems.
"What I really want out of this thing is to give every ballplayer a chance to be a human being and to take advantage of the fact that we live in a free and democratic society and he should have some choice," Flood said.
But thankfully HBO refuses to make Flood's story a hagiography. At their best (Academy Award winning "When We Were Kings") sports documentaries transcend sport and are simply good stories, but weaker filmmakers too often fall into predictable "sports narratives," inspirational tales, usually treacle, in which an athlete overcomes the odds. But HBO is sophisticated and it layers its stories and embraces honesty, which makes Flood a more profound person in the telling.
While HBO tends to guide its documentaries with a strong narrative, Showtime, on the other hand, tends to take a laissez-faire attitude, almost as if it shoots hours of "inside" footage but no one bothers to really edit it with a story-line in mind. In "The Franchise" there is a longish profile of Freddy Sanchez at home with his family. Sanchez and his wife express their love and how they struggled financially before making it to the Bigs, but there is no over-arching theme except to espouse family values and repeat a series of clichés. It's a victory that the producers were given great access, but it's what you do with the access that matters. The Showtime Sports Documentary Filmmaker Manual must read: Let the athletes and people around them tell the story. Don't interfere! More often than not, this is a misguided strategy because athletes don't always have a good perspective on their own story, and—I hate to break it to you fan boys and girls—athletes are typically more physical beings than truly deep, cerebral ones.