Nestled against the Atlantic in West Africa, Senegal is a long way away from the chapels and gyms of up-state, private American high schools. Nevertheless, a factory line has been established for just that journey. SEEDs Academy, located in the country's capital Dakar, is a program for the nation's elite teenage basketballers, founded and overseen by a scout for the Dallas Mavericks. A proved success, recruiters from well-funded schools all over the States trek to SEEDs to find the star capable of driving them to championship success. Anne Buford's 'Elevate' introduces four such graduates offered scholarships to the US, tracing their passage from the dusty Dakar streets to the well-manicured lawns of the American educational elite.
Perhaps conscious of the need to differentiate 'Elevate' from Steve James' inimitable 'Hoop Dreams', Buford works hard to highlight the cultural leap taken by the young men, rather than focusing purely on the broader goal of NBA stardom. Cutting back and forth between up-state New York and the streets of Senegal therefore, the pressure of settling in is shown in a stark light. Assane, a softly-spoken giant at 7'0, is shown shuffling nervously in and out of compulsory chapel services, withdrawing to his room to pray silently, his Muslim faith a rarity among the WASP population. Aziz, initially shown as the charismatic leader of the SEEDs group in Senegal, is a shell of his former self in the US, awkwardly misinterpreting his teammates well-intended questions and forced to eat away from his colleagues during Ramadan. Personally, these insights are the film's high-point, the intrigue being how they adjust to a foreign world and culture - away from the court - and only then, how those adjustments affect their on court performance.
Unfortunately, James' shadow returns as each of the men begin to suffer setbacks to their dreams (a knee injury to Aziz almost hauntingly similar to that suffered by William Gates) and their resolve is brought into question. Somewhat programmatically, the knee injury is followed by a relatively benign montage where Aziz is shown looking disconsolate on the bench as his team go on to lose game after game without him. Why this is important I'm not sure. Furthermore, Buford does not help herself by deciding to track four subjects, rather than a more manageable two or three. Hoop Dreams was almost twice as long as Elevate, and only had the two subjects in Agee and Gates. In Buford's case, the extended cast leaves Elevate feeling short and rushed.
Maybe it is too harsh to view Elevate in the shadow of Hoop Dreams, but the comparisons are inevitable and necessary. Ultimately, in such a comparison, Buford's effort comes up well short.
Perhaps conscious of the need to differentiate 'Elevate' from Steve James' inimitable 'Hoop Dreams', Buford works hard to highlight the cultural leap taken by the young men, rather than focusing purely on the broader goal of NBA stardom. Cutting back and forth between up-state New York and the streets of Senegal therefore, the pressure of settling in is shown in a stark light. Assane, a softly-spoken giant at 7'0, is shown shuffling nervously in and out of compulsory chapel services, withdrawing to his room to pray silently, his Muslim faith a rarity among the WASP population. Aziz, initially shown as the charismatic leader of the SEEDs group in Senegal, is a shell of his former self in the US, awkwardly misinterpreting his teammates well-intended questions and forced to eat away from his colleagues during Ramadan. Personally, these insights are the film's high-point, the intrigue being how they adjust to a foreign world and culture - away from the court - and only then, how those adjustments affect their on court performance.
Unfortunately, James' shadow returns as each of the men begin to suffer setbacks to their dreams (a knee injury to Aziz almost hauntingly similar to that suffered by William Gates) and their resolve is brought into question. Somewhat programmatically, the knee injury is followed by a relatively benign montage where Aziz is shown looking disconsolate on the bench as his team go on to lose game after game without him. Why this is important I'm not sure. Furthermore, Buford does not help herself by deciding to track four subjects, rather than a more manageable two or three. Hoop Dreams was almost twice as long as Elevate, and only had the two subjects in Agee and Gates. In Buford's case, the extended cast leaves Elevate feeling short and rushed.
Maybe it is too harsh to view Elevate in the shadow of Hoop Dreams, but the comparisons are inevitable and necessary. Ultimately, in such a comparison, Buford's effort comes up well short.
