[Originally published in Movietone News 55, September 1977]
Benson’s and Segal’s screenplay for One on One must have been particularly inviting to Lamont Johnson, combining as it does the interest in two-character confrontations that keynotes virtually all of the director’s work with the admiration for little-guys-who-become-winners-through-sheer-cussedness that Johnson exhibited in The Last American Hero. For me (and, I suspect, for Johnson, too), One on One is the quintessential Johnson film to date. In it, Johnson takes a delicate subject that many another director might easily have turned to syrup, and creates a dramatic, engaging, affecting story of determination and triumph. In the pre-credits prologue, opposition is established as the key motif of the film, as Johnson crosscuts from one side of the gym to the other during a high school basketball game, from one set of cheerleaders to the other, from the high school coach to a college coach who is there as a scout. Tension between opposing points of view or allegiances fighting for domination of the spirit of smalltown basketball star Henry Steele is already established for us even before the disparate viewpoints themselves are stated through dialogue.