Give the basketball to such diverse talents as Julius Erving, Kareem Abdul-Jabbar, Walt Frazier, Rick Barry, George McGinnis, Dave Bing, or Bob McAdoo, to name a tiny fraction, and you get dramatically distinctive styles of dribbling, passing, shooting, and defensive play. There is great room in basketball for demonstrable physical artistry that often can be compared to serious dance.
So there I was in 1967 leafing through the sports section of a newspaper one day (I still read that section first) when I came across the name Earl Monroe. I had never heard of Monroe, knew nothing of his daily rookie brilliance nor ever heard of his astounding feats at Winston-Salem. I just liked the name, free-floating, three syllables, and euphonious to me. Earl Monroe. The name worked. (Years later, when I did a film called Sleeper, I named myself Miles Monroe. On me it was kind of a funny name.) I came across Monroe’s name again every few days as I glanced over the basketball box scores in a casual, disinterested way and noticed that he invariably led the scoring column.
Monroe 34, Monroe 36, Monroe 24, Monroe 28, Monroe 40! I was impressed by the consistent high numbers and repeated his name every now and then like it was a mantra. It still sounded musical. Earl Monroe. I think I even recall seeing a picture of him on the cover of Sports Illustrated that year and thinking he was very interesting looking. I was, and I don’t know why, aware of Monroe in some special way. Although I didn’t follow his sport much then, if someone had awakened me in the middle of the night and said, “Quick, name your favorite basketball player,” I’d have snapped back: “Earl Monroe.” This was probably his first working of magic on me, though I had no real idea of what Baltimore Bullet fans were witnessing and feeling each night when they saw him play and referred to him as the Pearl or Black Jesus.
The first time I saw Monroe, an actor friend said, “Come with me to the Garden tonight. I want you to see this guy. You’ll like his style. It’s real herky-jerky.” That was in 1968. By then I was more interested in basketball and had begun following the Knicks a little. They had made the playoffs and had captured the imagination of New York. I went and saw Monroe score 32 points against Walt Frazier. This is Walt Frazier, mind you, who played the guard position as perfectly as it has ever been played and who was to be voted on the all-defensive team seven years running. Thirty-two points and Frazier said, “I had my hand in his face all night. He shoots without looking.”
I went the next night too and while the Knicks double-teamed Monroe at every turn, he tore the place up with a buzzer beater that he flipped in as he ran across the midcourt line at halftime, and he kept running right into the locker room.
My impressions of Monroe then? I immediately ranked him with Willie Mays and Sugar Ray Robinson as athletes who went beyond the level of sports and sport to the realm of sports as art.