In the year 2012, the documentary titled “9.79” was broadcasted within ESPN’s “30 for 30” series. This film by Daniel Gordon centered around the 100-meter final at the Seoul Olympics, a race that Ben Johnson initially won, only to lose his title following a positive steroid test. As a result, Carl Lewis was declared the ultimate winner instead.
Despite being surrounded by numerous sports documentaries, the one that came closest to focusing on Lewis, one of the greatest track and field legends, was actually centered around Another Person instead.
Despite Lewis’s triumphant and career-ending long jump win at the Atlanta Olympics opening a chance for people to accept him wholeheartedly, he remained perceived as either hard to like or enigmatic.
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Lewis’s impressive victory in the long jump event at the Atlanta Olympics provided an opportunity for people to embrace him completely, but he was still viewed as being difficult to warm up to or mysterious.
The assertion is ultimately proven or disproven in Julie Anderson and Chris Hay’s latest documentary, titled “I’m Carl Lewis!“.
At SXSW, the film “I’m Carl Lewis!” showcases not only Lewis as an accomplished athlete, but also portrays him as a visionary ahead of his time. He was a vocal critic of the unjust “amateurism” rules in Olympic sports decades before such views were widely accepted. Despite being labeled brash and arrogant years before such traits were seen as confident, Lewis stood firm to his beliefs. Additionally, he challenged traditional gender norms and faced backlash in public perception for it.
As a gamer, I’ve noticed that Lewis isn’t exactly an open book; he shares what he feels comfortable with. It’s almost like Anderson and Hay are bumping into the boundaries of Lewis’ friendly demeanor. However, it’s clear as day how prejudices, often rooted in race, have tainted his reputation.
Instead of recounting Lewis’ athletic achievements chronologically, as if I were Lewis himself, let me share a more lively account that spans his four Olympic appearances. We begin at the 1984 Los Angeles Olympics, where he matched Jesse Owens’ legendary feat by winning four gold medals.
This way, the text remains easy to read and engaging while still maintaining a chronological order of events.
In my gaming world, I’ve been dominating for two decades straight, and the spotlight often falls on two iconic moments: the 1988 showdown that wasn’t caught on film with the legendary Johnson, and the electrifying 1991 World Championships long jump duel against Mike Powell. This epic battle saw both of us challenging Bob Beamon’s record, setting the world ablaze!
There’s an abundance of remarkable videos showing Lewis at work, highlighting his elegance and authority. Additionally, there’s a wealth of videos capturing Lewis interacting with reporters, revealing the confrontational demeanor (from both sides, as many journalists can appear just as challenging) that may have prevented Lewis from getting some public appearances suitable for a performer of his stature.
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Lewis is frequently seen in impressive work videos, demonstrating his poise and control. Furthermore, there are numerous videos showing him speaking with reporters, showcasing the contentious behavior (on both sides, as some journalists can be equally confrontational) that possibly limited Lewis’s opportunities for public engagements befitting a performer of his caliber.
Looking back with the benefit of time and the openness that comes with age, the directors are now reinterpreting what was perceived as “confrontational” during the 1980s, given Lewis’ current stance.
Was Lewis more focused on amassing wealth or was he challenging a system that favored organizers and sponsors at the expense of athletes like himself? His threat to the established order is most clearly illustrated in interviews with skeptical advertising professionals from the ’80s, as well as contemporary testimonies from his peers who credit him for paving the way. The documentary may not be able to definitively link Lewis’ vocal advocacy for fair compensation to subsequent changes in sports infrastructure.
Lewis’ influence on maintaining the sport free of drugs is more clearly visible due to his bold accusations against Johnson regarding doping, which came before any concrete evidence was available. Furthermore, the documentary doesn’t shy away from acknowledging and explaining Lewis’ positive drug test prior to the Olympics in 1988 – a fact that has been public knowledge for over three decades.
Anderson and Hay take great care when dealing with Lewis’ sexuality, a topic that was once subjected to conjecture and derogatory remarks during his peak career.
According to Keith Boykin, regarding his friend Carl, “He didn’t conform to the typical, overly masculine stereotypes often associated with Black men, which made some individuals feel threatened while others found him inspiring.
As a gaming enthusiast diving into this documentary, I can’t help but feel that it missed an opportunity to truly highlight the empowerment aspect of Lewis’ influence. Yes, he undeniably paved the way for today’s athletes who strut their stuff on the red carpet, making sports more vibrant in the 21st century. However, I question if his courage during a time when openly acknowledging his sexuality could have had a greater impact.
His evasive responses and denials at the time when people suspected he was gay didn’t seem to empower anyone. He still isn’t as open about his personal life today, and it seems he lacks introspection regarding how he handled those accusations. The documentary also fails to explore if Lewis’ flair for makeup, homoerotic music videos, and extravagant costumes offered solace to the ’80s LGBTQ+ community yearning for public figures they could identify with. It’s a story that deserves more attention.
In his recent conversations, he’s more casually elusive, boasting about his iconic Pirelli ad in high heels and critiquing the nude portraits he commissioned earlier. He appears content today, be it soaking in his hot tub, guiding filmmakers through his small orchard, celebrating birthdays with friends and family, or simply enjoying a leisurely stroll. It seems that any past situations he might have managed differently or comments he could have responded to differently are not the focus here. Instead, the documentary is more about what society owes to Carl Lewis rather than what Carl Lewis owes to society at this stage in his life.
Hearing “I’m Carl Lewis!” brought Alex Stapleton’s documentary “Reggie” on Reggie Jackson to mind. It made me reconsider my viewpoint on Jackson, particularly the narratives built around him during that era and who shaped those stories. Although it doesn’t provide as comprehensive a shift in perception for Lewis, it certainly highlights his athletic prowess effectively.
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2025-03-09 08:27