[2006]
Directed by Jared Hess | Featuring Jack Black, Ana de la Reguera, Silver King | Written by Jared Hess, Jerusha Hess, Mike White
Often times when films are based on a true story it’ll say ‘based on a true story’ somewhere on the poster, in the trailers, on the home media releases, or even somewhere in the film. Hollywood seems to really like taking real events and immortalizing them in an exaggerated nigh-fictional fish tale. Sometimes it feels like that ‘based on a true story’ tagline is to remind you that, yes these events did actually happen… sorta. Blatantly overdramatized misconstruction? Maybe. But true, nevertheless!
Nowhere on the DVD, posters, credits, or old website was Nacho Libre advertised as based on true events – although it was. Fray Tormenta is a Mexican catholic priest who for nearly four decades wrestled as a lucha libre fighter. Wearing a mask to protect his true identity, he raised money for his local church which supported two hundred and seventy orphaned children. After retiring from wrestling in 2011, Fray Tormenta still continues to fulfill his priestly duties on the regular.
And, although that is quite an impressive feat, the idea is not an original one. In the 1960’s two Spanish movies were made (El Señor Tormenta [1963] and Tormenta En El Ring [1963]) about, you guessed it, a Mexican priest who supported an orphanage by fighting as a lucha libre fighter by night. That doesn’t diminish any of Fray Tormenta’s selfless acts and life-long dedication. Although, in the context of Nacho Libre, is an interesting tid bit.
A bit of art imitating life imitating art.
It’s understandable why this inspiration is never explicitly stated for Nacho Libre, though, as the film is a humorous look into the life of luchadores as well as the behind the scenes of general professional wrestling (with a few things admittedly glossed over) and an offbeat take on the priest turned wrestler gimmick.
The film’s opening credits play against the young Ignacio, an overweight orphan boy who is snatching various items, objects, and decorations from around the church as he construct’s a superhero like luchadore attire. This is not only a jarringly humorous introduction, but plays against the wonderfully chosen Hombre Religioso (Religious Man) song by Mister Loco, a Mexican pop band from the 1970’s. The quirky but dedicated tune serves as a sort of theme for Ignacio and the movie as a whole going forward; and is excellently quoted several times by Danny Elfman and Beck in the music score.
We get a montage, to the same song, as Ignacio is stripped of his costume, punished for his abnormal behavior, and is made to cook for the monastery. We fade, a la Tarzan [1999]’s Son of Man sequence, into the present day as we find Ignacio, now the full grown Jack Black, passing out the unrecognizable meal to the children and priests. He blames the terrible food on no money for better ingredients.
Sister Encarnación, a beautiful nun transferring to their church, arrives, much to the delight of Ignacio. When he approaches to talk with her on the playground later, we see the beginning of an easily overlooked subplot; Ignacio and brother Guillermo’s (played by Richard Montoya who is as hilarious as he is conniving) feud over Encarnación. It’s a great little diversion from the main storyline every time these three are on screen together – and it leads to some of the best intentionally awkward humor I’ve seen put to film. Had the movie had a longer runtime, I’m sure more funny scenes between the three might have been put in. For repeat viewers these bits are a highlight.
After a chance encounter with Steven, a squirly street thief, Nacho gets inspired to become a luchador after watching Ramses, a rich and famous professional wrestler, from afar. An upcoming amateur tag team event prompts Nacho to seek out Steven, join up, and fight as masked luchadores. A bit hair brained, but Steven goes along with it.
Ignacio dons sweatpants, a sweatshirt, and a ski mask, becoming Nacho Libre. Steven, on the other hand, dons a fairly plain outfit (sans mask) and wrestles as Esqueleto. For those who don’t speak Spanish, that’s ‘Free Nachos’ and ‘The Skeleton.’
Here’s where another little easter egg plotline slips in. The sequence begins with a background extra (I’m assuming, as I haven’t been able to find the actor listed in the credits anywhere) stops as he hears music. Turning, he sees the wrestling show about to begin – and decides to pay and watch. Throughout the rest of the film this same man is at every Nacho Libre fight. Another small detail that is easily overlooked unless intently focused on – adding even more to this film’s rewatchability.
After loosing their first fight, Nacho and Esqueleto are understandably bummed. That is until the manager comes by their rest area, presenting them with cash. Although not exactly true to life (pro wrestling is generally predetermined for storylines, not all done as ‘shoots,’ AKA real fighting. And with salary payouts negotiated well beforehand) this is an interesting little window into how professional wrestling works. Instead of a winner and loser, all performers are compensated as entertainers – especially when the audience really enjoys the show.
This prompts Ignacio and Steven to take up professional wrestling on the side, fighting in lucha libre fights continually throughout the rest of the movie. (and always at night) And, for as many different rabbit holes they go down (like climbing a mountain in search of ‘eagle powers,’ or sneaking into, and getting thrown out of, a party for Ramses…) I’ll refrain as, if you haven’t seen the film, you really should.
Although I give Nacho Libre a 4 and a half stars, do note that the frequent use of crude humor and all around immaturity, akin to another of Jared Hess’s famous film; Napoleon Dynamite [2004]. Although Nacho Libre, I’d argue, is a tad more family friendly – having been produced by Viacom’s Nickelodeon Movies; a branch of the adolescent targeted Nickelodeon TV network. (Home of Spongebob, Ned’s Declassified, and even the revived Are You Smarter than a 5th Grader?)
Understandably, some jokes might not land as well for some as it did for me. But I really enjoy the film. Similar to RV [2006], produced the same year, the in-jokes and background elements more than make up for any oddball comedic misses. Watching with a group is preferred, as the frequent quirky lines are often oddly quotable, fitting of humoriously spicing up conversation between friends.
While Nacho Libre doesn’t have a whole lot of substance in its main plot, it more than makes up for it through the memorable performances, off kilter atmosphere, and uplifting and inspirational mood. Plus, those small elements only noticeable on third or fourth viewings make Nacho Libre a classic for any comedy fans. Especially if you love Jack Black!
The CinematiCritic 