![]() It was a homage to his stature as a player, and those of his calibre. 'We could observe the mind behind the face. He was poetry in motion and we focused on him, helped by the facility we had to shoot the last few games in slow motion. 'We saw Pele's slow exit, heightened by the effects. 'Watching the destruction of a legend, the departure of a warrior was a major moment,' recalls Devenish. New technology enabled Devenish and Dino to get in close and concentrate on the emotions of the players such as Pele and his injury against Portugal. What we could do was show the detail, taking the viewer within the experience, rather than having a bird's eye view of the battle.' 'As our film would be shown in cinemas, long after the event, we could not simply repeat what people had already seen. 'He saw the opportunity to do what television companies could not, liberating the world from gloomy black-and-white and see the World Cup for what it was, in Technicolour and in Vistavision, a wide-screen system, not a simple grey smudge of shadows. Octavio wanted to do for football what Ichikawa had done for the Olympics. ![]() 'Beyond just a news report, to something that lasted. 'We wanted to go beyond just a straight account,' 80-year-old Devenish tells Sportsmail from his home in Cape Town. The black and white footage of the entire 90 minutes plus extra time will be restored and colourised He recruited as directors Abidin Dino, a Turkish artist and political dissident living in Paris, and Ross Devenish, a South African filmmaker living in London. Senoret envisaged a cinematic masterpiece. He paid FIFA £15,000 for the rights to do it again four years later, inspired by Kon Ichikawa's acclaimed Tokyo Olympiad, a colour film made for cinema to document the Olympic Games of 1964. It proved a hit in cinemas around the world and was produced by Octavio Senoret, an actor turned producer responsible for the official World Cup film in 1962 when his native Chile hosted the tournament. ![]() Goal! navigates the thrills and spills of the tournament: the pain of Pele, Italy's demise at the hands of North Korea, the goals of Eusebio and its finale at Wembley Stadium. There certainly was a full colour film before, because a talented and eclectic team of filmmakers captured the game against West Germany in glorious technicolour and created a BAFTA award-wining documentary.
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