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Brazil 1970: Pele - the Brooding Heart of the Beautiful Game

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Eamonn Walsh | 16:48 UK time, Friday, 28 May 2010

Life is pretty good in Brazil right now. President Luiz 'Lula' da Silva has approval ratings running at 80%. And the largest economy in South America is

In fact, the speculates on whether steps will need to be taken to stop the economy overheating.

But if the Brazilian economy has not always been such a powerhouse, its national football team certainly has been.

The have unquestioned pedigree - five time winners of the World Cup, an unprecedented record of having qualified for every finals tournament and the current number one team in the rankings.

The names of just some of their legendary players read like a who's who of the greats - Garrincha, Jairzinho, Carlos Alberto, Zico, Socrates, Romario, Ronaldo and of course,

Though the team cruised through their qualifying group for the in South Africa, there has been criticism of the current manager Dunga for playing a more defensive style of football.

World Cup year always raises expectations of the Brazil team - both from the media and the team's adoring, fanatical fans. This year is no exception and nor was 1970, the year many feel was the pinnacle of Brazil's football prowess, the peak, if you will, of the beautiful game.

Ahead of the tournament, Brazil was a team under pressure. Panorama got a taste of this when our cameras caught up with them for a film that was broadcast on 12 May 1970.

Panorama's film crew gained incredible access to the Brazil squad at their training camp. The access lent itself to a lyrical, almost existential film portrayal of their talismanic star, Pele, as a dispirited figure with waning interest and a failing body.

The film pits Pele, forced by commercial pressures to play 120 matches a year in which he was a favourite target of aggressive opposition players, against the pragmatic coach Joao Saldanha.

Saldanha was hoping the 1970 World Cup tournament in Mexico would bring respite from his critics, while Pele was hoping for one more glorious hurrah.

The conflict came to a head just weeks before the tournament began with the sacking of Saldanha after a laboured victory over Argentina.

When they did reach Mexico, Pele and Brazil triumphed, playing a brand of the game which is now part of football folklore, winning the World Cup for a third time and keeping the Jules Rimet trophy for good.

With a booming economy and a settled team in top form, would you bet against them winning a sixth World Cup at Soccer City in Johannesburg on 11 July?

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'...And We Can Now Cross Live To New York.'

The scene is a hushed auction house - the auctioneer, gavel in hand, efficiently taking bids on ornithological engravings by and later a - but in the corner something is stirring.

Panorama presenter Richard Dimbleby, tucked away in one corner of the auction house, speaking in expectant tones into a huge Â鶹¹ÙÍøÊ×Ò³Èë¿Ú microphone about what's about to unfold.

And what was about to unfold? Well, a Sotheby's auction of course. Nothing more? Well no and yes.

Panorama was simply giving its audience a glimpse of what happens during a Sotheby's auction.

The raison d'etre was that this was an auction happening at Sotheby's in London and New York. Live.

The programme was being broadcast live via the , the world's first commercial communications satellite launched on 6 April 1965. This edition of Panorama was broadcast some 6 weeks later, 45 years ago this week, on 24 May.

The , as it was nicknamed, was a revolution in communications and Panorama made frequent use of it, bringing live events, often from New York, into British homes.

Early Bird had its place in history cemented as one of the satellites used in the world's first global link up programme - most famous for the Beatles flower-strewn performance of .

Indeed so revolutionary was the technology that Panorama was able to broadcast a 20 minute item solely on what happens inside an auction room, simply because it was happening simultaneously in London and New York.

And strangely fascinating it is too.

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Regular readers of this blog will be aware how we like to try and draw out some of the parallels with what Panorama has reported on in the past and the present.

As you can imagine, drawing any parallels from this film is difficult.

In a world where air travel had not yet spread to the masses, Panorama had always prided itself on being a 'window on the world' for its audience from its earliest days.

It was often enough to simply show. Not necessarily explain or investigate but simply show.

Items like this perhaps marked the beginning of the end of Panorama's early purpose. That window would remain open of course but global events of
dictated the view and with them came a harsher tone. Editorial decisions were made less on the allure of new technology and increasingly on rigorous, investigative journalism

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