Nacho Libre

I have a monkey on my back. As a journalist and educated college graduate well versed in literature and theatrical acting studies, my movie watching suffers. I recall the time I sat and watched “Instinct” starring Anthony Hopkins with my dear friend and neighbor, Manny. Afterward, I had an analytical discussion of the film with Manny. From a literary standpoint, it is enticing to examine the characters. I stood out front of my neighbor’s house as he put away the trashcans, and I discussed potential issues of racism and greed in the Showbiz characters in “Crash” with him. After watching “Silence of the Lambs,” I returned the film to Manny. I asked him something about the relationship between Hannibal and Clarice or explanations for Hannibal’s psyche, and he said: “Why do you have to analyze the film? Can’t you just enjoy it?”

He was right. The way I watch movies now will never be the same as it was years ago before I had any college courses under my belt. I’m trying to find my niche as a journalist. I know I could make it as an A&E reporter, but the more I write A&E reviews, I suffer the calamity of being unable to watch movies or play solely for their entertainment value. I pick them into little pieces so that I am no longer a viewer and evermore an analyist. Can’t I “just enjoy” them? Maybe not, especially not as I review films.

This predicament was brought to the forefront of my mind after watching “Nacho Libre” (Jack Black) last night. I’d rather sit and talk about how great the actress in the Progressive auto insurance commercials is. However, I’ve seen the film and so now I “have to analyze” it.

Briefly, “Nacho Libre” is funny if you enjoy the type of dry, oddball humor of “Napoleon Dynamite.” The film is a success because each scene is a slice of life, a painter’s great landscape. Extreme care and thought are behind the mis en scene and creation of expressionless, dull characters and authentic settings. From the poverty stricken area of Mexico, to the world of bizarre Mexican wrestlers (i.e. a pair of fighting hyena-like dwarfs or Nacho Libre’s companion, Esqueleto) settings are immersed in realism. So are the character’s. As with “Finding Neverland,” the issue of innocence and platonisim vs. romantic love between a man and a woman is examined through the doey-eyed nun, Sister Encarnacion and Nacho Libre. Jack Black carries Nacho Libre with machisimo, sensuality and such believability that you find yourself questioning if he truly is Hispanic. As Nacho Libre, Black truly is hilarious.