Mário Filho: the red-and-black who gives his name to Maracanã
World Cup final stadium named after legend who brought visibility to sports journalism
By Communication - Official Club Website - in
This Sunday (July 13.07), the eyes of the world will be glued to the grand final of the World Cup, which will write another chapter on the pitch of Maracanã Stadium. At the entrance, in front of the statue of Bellini, captain of the 1958 World Cup-winning Brazilian team, are the letters that form the name of another Brazilian football legend, journalist Mário Filho. In the late 40s, the Pernambuco native from Recife fought against city councilman Carlos Lacerda, who advocated for the construction of a municipal stadium in Jacarepaguá to host the 1950 World Cup, the first on Brazilian soil. Mário managed to convince public opinion that the best location for the new stadium would be in the Maracanã neighborhood, on the land where Derby Club once stood. Nelson Rodrigues' brother believed the stadium should be the largest in the world, with a capacity of over 150. Renowned as one of the greatest sports journalists of all time, Mário died at the age of 58 from a heart attack. In his honor, the former Maracanã Municipal Stadium was named the Jornalista Mário Filho Stadium. Ironically, the man whose name is given to today's final stadium covered only two World Cups outside Brazil (he was at the 1950 World Cup): 1962 and 1966. Mário Filho disliked air travel, which he avoided as much as possible.
Journalists like Armando Nogueira have always credited Mário Filho as one of the key figures responsible for the revolution in sports journalism, which until the first half of the 20th century was a hidden section of newspapers. Mário was the first Brazilian press to feature a sports story on the front page. He also created the sports section as a daily feature in the newspapers he worked for. Beyond his journalistic work, his contributions to football included his literary side. Mário is the author of classics such as "The Black in Brazilian Football," "Journey Around Pelé," and "Flamengo Stories."
Still around the Rubro-Negro, Mário Filho had the explanation for the size of the Nation: "Why did Flamengo become the most beloved club in Brazil? Because Flamengo allows itself to be loved freely", he said about the club's accessibility to all social classes, at a time when rivals served refined cocktails only to the most affluent of Rio de Janeiro society, while the Mais Querido celebrated its achievements with carnival in the streets.
The rivalry between Flamengo and Fluminense wasn't limited to the two brothers, Mário, shy, and Nelson, passionate, who shared their passions for the five colors of the flags. The formation stemmed from necessity: Flamengo, Fluminense, and América all supported the professionalization of Rio de Janeiro's football. As these teams stopped participating in amateur tournaments, Flamengo and Fluminense began playing almost weekly, making the matchup less appealing.
Journalists like Armando Nogueira have always credited Mário Filho as one of the key figures responsible for the revolution in sports journalism, which until the first half of the 20th century was a hidden section of newspapers. Mário was the first Brazilian press to feature a sports story on the front page. He also created the sports section as a daily feature in the newspapers he worked for. Beyond his journalistic work, his contributions to football included his literary side. Mário is the author of classics such as "The Black in Brazilian Football," "Journey Around Pelé," and "Flamengo Stories."
Still around the Rubro-Negro, Mário Filho had the explanation for the size of the Nation: "Why did Flamengo become the most beloved club in Brazil? Because Flamengo allows itself to be loved freely", he said about the club's accessibility to all social classes, at a time when rivals served refined cocktails only to the most affluent of Rio de Janeiro society, while the Mais Querido celebrated its achievements with carnival in the streets.
The rivalry between Flamengo and Fluminense wasn't limited to the two brothers, Mário, shy, and Nelson, passionate, who shared their passions for the five colors of the flags. The formation stemmed from necessity: Flamengo, Fluminense, and América all supported the professionalization of Rio de Janeiro's football. As these teams stopped participating in amateur tournaments, Flamengo and Fluminense began playing almost weekly, making the matchup less appealing.