‘Cantinflas’ Review By Carlos Aguilar. Born with a rare brand of charisma, Mario Moreno “Cantinflas” crafted an unforgettable character out of his own bittersweet experiences. His humble beginnings played a crucial part in the way he related to his audience, which at fist was mostly conformed of working class vaudeville attendees. Wildly inventive and infectiously irreverent, his peculiar way of speaking with colloquialisms and unpretentious wit elevated him into the realm of legends Mexican and Latin American popular culture. Anyone aware of his iconic status would be apprehensive about a biopic being made. First of all because a production of such caliber would need a sizeable budget, but the real challenge, and the most difficult task, would be to find the one actor that bring the beloved comedian to life. Could that even be possible? In Sebastian del Amo’s big budgeted production, the answer was found in Oscar Jaenada. The Spanish actor gives a stunning performance adorned with all the sweet and charming nuances that made Cantinflas so relatable. The film opens as producer Mike Todd (Michael Imperioli) at United Artists, is struggling to make “Around the World in 80 Days.” We then meet Mario Moreno before his stardom days sweeping the floors of vaudeville houses and trying to figure what his talent tin life is – he unsuccessfully tried boxing and bullfighting. From then on, his life plays parallel to the Hollywood madness of the time. Uruguayan-born actress Barbara Mori plays a quietly beautiful Elizabeth Taylor, violet eyes and all. Meanwhile in Mexico City Mario Moreno realizes the stage is his calling and through an argument with a drunken audience member adopts his famous nickname. Befriending a group of Russian performers he meets his future wife Valentina Ivanova (played wonderfully by Ilse Salas). Gradually is performances increase in popularity across the social strata in Mexico. Then came the movies and the flirtatious offers from Los Angeles. Overall, the film is an impressive production that highlights the glamour of the times and gives a glimpse into the mind of the star. Having said that, Del Amo’s film does suffer from several instances in which the drama is heavy-handed and wooded acting takes the center stage. Accompanying this is the film’s adamant concern with including every single famous person Cantinflas ever crossed paths with: Chaplin, Sinatra, and Maria Felix, among many others. This wouldn’t be a problem if their presence didn’t feel rather gratuitous. Having said that, those trite elements do not hinder the consistent enjoyment of a lighthearted and very humorous piece that revives some of that lost Hollywood magic but appreciated from the Mexican perspective. It is true that “Cantinflas” suffers from some of the evils associated with the biopic genre, but the driving force here, is, without a doubt, Jaenada’s work. His performance is the core of a film that couldn’t have worked if he didn’t hit the right comedic notes. Far beyond mere imitation, his embodiment of the character is a job that will undoubtedly satisfy fans and intrigue those unfamiliar with the Mexican star. He took upon himself to be consumed by the character completely and that’s something that one can be thankful for in every scene. “Cantinflas” is now playing in select theaters.
