'Cantinflas' unmasks 'the Charlie Chaplin of Mexico'
His mouthful of a moniker was not exactly a household name in the USA.
But from the mid-1930s up until his death in 1993, Cantinflas was Mexico's most beloved and iconic comedian. He became known to U.S. audiences for his award-winning role in 1956's Around the World in 80 Days.
The man born Mario Moreno is the subject of Cantinflas, a biopic that ambitiously tries to appeal to die-hard fans, honor his legacy and showcase his clownish brand of humor to those unfamiliar with it. It's a lot to take on, and the film doesn't achieve everything it sets out to do. Some of Moreno's wit — rooted in his distinctively comic, often obfuscating use of the Spanish language — doesn't translate well. (** ½ out of four; rated PG; opening Friday nationwide)
Cantinflas is a nostalgic, occasionally schlocky, look at the Mexican icon.
While a substantial number of scenes are heavy-handed, the actor who plays Cantinflas— Óscar Jaenada — is a standout.
Called "the Charlie Chaplin of Mexico," Moreno starred in dozens of movies in Mexico, often playing impoverished campesinos, before his Hollywood debut.
Much of the film is in Spanish, with English subtitles, except for plodding portions that take place in mid-1950s Hollywood and focus on producer Mike Todd (Michael Imperioli) and his difficulty signing talent for Around the World in 80 Days. There's an awkward scene in which Todd approaches Elizabeth Taylor (Barbara Mori) for his movie. She simpers and makes eyes at him but makes it clear she wants no part of the movie. Taylor and Todd later married, so presumably that scene was meant as foreshadowing, but it feels extraneous.
Charlie Chaplin (Julian Sedgwick) plays a small but key role. Chaplin is said to have been a Cantinflas admirer, calling him "the greatest comedian alive."
The film bogs down as scenes go on too long, giving it a repetitious feel. Some sequences come off like soap opera, particularly the comedian's marital conflicts with his Russian-born wife, Valentina (Ilse Salas).
But, at times, it's an intriguing story of a man who rose from the humblest origins — performing skits in tiny pueblo tent shows — to superstar status. He developed his style of puncturing the pretensions of the wealthy and powerful early on. He went on to star in more than 50 films from 1936 to 1981. A social satirist, he was also a shrewd businessman.
The film seeks to separate Moreno from his Cantinflas persona. That duality becomes a focal point in his marriage, when Valentina asks her husband to refrain from falling into his character and famous catchphrases when they are home alone. Occasionally, such moving moments delve beyond the surface rags-to-riches story.
To the filmmakers' credit, the film doesn't deify Moreno or gloss over his failings. It shows his infidelities and unbridled ambition as well as his caring side and dedication to labor politics. (He was president of the Mexican actors' guild, ANDA). Oddly, it doesn't mention his substantial involvement in charities and humanitarian organizations, which made him a folk hero in Mexico, or the three-day national event that was his funeral in 1993.
Most problematic, however, is the film's structure. The story jumps awkwardly back and forth between the early 1930s in Mexico and the mid-1950s in Mexico and the U.S.
Moreno was famous for verbal innovations and linguistic skill in his portrayal of the underdog, but the film doesn't capture the hilarity it seeks. Nor does it delve much beyond the surface, but it does shine a light on the life of a Mexican national treasure.