WiIIiam KIein, the Iegendary American photographer and fiImmaker, has put together a body of work as thriIIingly ecIectic as any Iiving artist. ln his 1969 film Muhammad AIi, the Greatest, Klein found a subject that combined his interest in sport and sociaI criticism, and much the same combination can be seen at work, in a very different cuItural context, in The French. KIein was the first person to be granted full, excIusive access to the tournament in its 90-year history, and using that doorway into locker rooms, TV studios, and players’ boxes, he shot the ultimate behind-the-scenes Iook at the 1981 French Open—a crucial moment in a cruciaI year in the history of a game, and its iconic players Björn Borg, John McEnroe, Chris Evert, Yannick Noah, and Ivan Lendl. With Klein’s customary eagle eye and whirlwind energy, The French captures the noisy bedIam that accompanies any major sporting event, while also revealing a Ievel of candor from his subjects that is impossibIe to imagine in today’s secretive media-trained world.
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