‘La Máquina’ delivers an emotional punch, reuniting Gael García Bernal and Diego Luna

As a movie enthusiast with over three decades of film-watching under my belt, I must say that “La Máquina” is a unique blend of genres that leaves one both intrigued and slightly bewildered. The sports story meets the conspiracy thriller, creating an amalgamation as diverse as a taco truck’s menu in Los Angeles.

In the Spanish-language show “La Máquina,” debuting on Hulu this Wednesday, Gael García Bernal takes on the role of Esteban Osuna, commonly known as La Máquina – a middle-aged boxer who’s about to retire and is eager for new opportunities.

Initially unconscious before the opening scene, Esteban is burdened with a rich collection of trials in sports journalism: Apart from his deteriorating yet remarkable skills, he struggles with alcoholism (having been sober at our initial encounter) and has recently started experiencing hallucinations, a secret he conceals from both his probing physician and caring ex-spouse, Irasema (played by Eiza González), a sports journalist who yearns to protect their young sons from the fate of having an unresponsive father.

Besides Esteban, his codependent manager and closest friend, Andy (Diego Luna), remains unaware of the details as well. In fact, Andy, who shares a long-standing bond with Esteban, is also in the dark about a pact he made years ago – a Faustian one, to be precise. This secret agreement, typical of such contracts, has now returned to haunt them both.

After an unanticipated victory in a rematch with the boxer who previously knocked him out, Esteban finds himself being urged by Andy under duress to take on the current welterweight champion in a fight that seems unlikely to end favorably for him. However, Esteban is hesitant about this prospect as well.

“I’m done,” Esteban says.

“Just one more,” Andy pleads.

“I want to get fat. I want to eat whatever I crave. I want to be happy, fall in love.”

Meanwhile, Irasema ponders over the increase in knockouts in the last five years compared to the previous 20. Intrigued, she decides to delve deeper into this observation. She speaks with an elderly boxer who’s dealing with dementia and manages to extract cryptic numbers from him, which any viewer can recognize as hinting at a foreboding significance.

While sorting through her father’s old documents (who was a renowned boxing journalist), Irasema unexpectedly finds an audio recording where he suggests that boxing plays a significant role in reflecting cultural milestones, even impacting a nation’s elections. He further posits that if one can manipulate the election results, they could control the stock markets, finances, and virtually everything else. Upon closer examination of the data, he believed patterns would emerge, not only in boxing matches but also in seemingly unrelated aspects such as gas prices in China.

On-screen, boxing narratives – encompassing both dramatic and comedic tales – predate the era of talking films. Figures like Charlie Chaplin, Buster Keaton, and Harold Lloyd were among its pioneers. This genre flourished throughout the 1930s, ’40s, and ’50s, with a significant number (if not the majority) of these productions featuring elements of crime. In these films, racketeers manipulated fights, boxers intentionally lost matches or risked their safety by defying such manipulation.

Marlon Brando’s character Terry Malloy in “On the Waterfront” had potential to become a champion, but he chose to fix a fight instead. Contrastingly, John Garfield’s character in “Body and Soul” refused to throw a match. The movie “Requiem for a Heavyweight,” which tackles themes like aging and brain damage, was initially produced for TV but later turned into a film. In “The Harder They Fall,” Humphrey Bogart’s final role depicts a boxer unaware that his entire career has been manipulated. It’s uncertain whether Luna, Bernal, and their team drew inspiration from these films when creating “La Máquina,” but the themes are deeply ingrained in popular culture; traces of them can certainly be found throughout this series.

Incorporating shady characters undeniably amplifies the tension in my narrative, going beyond the usual underdog versus washed-up competitor dynamic. I’m not sure why a hidden, all-powerful syndicate was necessary; maybe raw gangsters and dishonest bookies seemed too ordinary to drive a boxing plot in 2024. As “La Máquina” unfolds, the sports tale takes a backseat to the enigma – who they are and why they’re doing this, remains unsolved by everyone involved.

It seems likely that “La Máquina” represents not just Esteban’s nickname, as he himself is unsure of its origin, but also the enigmatic system or network he’s entangled in, which poses a threat not only to him, Andy, and their immediate circles, but potentially to their extended families and acquaintances as well. This kind of powerful, secretive organization can be reminiscent of those seen in James Bond films; perhaps it’s Ernst Stavro Blofeld manipulating events from behind the scenes, along with his trademark white cat; it could very well be so.

Originating from the conceptual minds of Luna and Bernal, lifelong buddies similar to Esteban and Andy, this production has been a collaborative effort since their days on “Y tu mamá también.” Marco Ramirez serves as showrunner, with Gabriel Ripstein taking the director’s chair throughout. This unique blend of genres and moods, while seemingly disparate, is not without its charm. It weaves together elements of sports tales, conspiracy thrillers, mysteries, family sagas, and various types of love stories. It’s simple yet sarcastic, tinged with a touch of sentimentality. The narrative can take some unexpected turns, particularly when it involves Andy. His flamboyant attire, extreme beauty routines that alter Luna’s visage, his self-affirmations, samurai exercises, and his overly intimate bond with his mother (Lucía Méndez) add an intriguing layer of peculiarity to the storyline.

In various interactions, Esteban’s relationships with his ex-wife, Andy, his sons, his trainer Sixto (Jorge Perugorría), and others are portrayed with subtlety and sincerity. Despite his occasional flaws, the boxer is a kindhearted individual, and Bernal delivers an endearing performance that makes you wish he lived next door to you.

Luckily, he finds sparks of a budding romance with a dancer named Dariam Coco, who he encounters at a gathering; she seems unfamiliar with him, being young and seemingly untouched by the world (as suggested); however, this relationship appears to fade away, possibly reappearing in the final episode that was offered for preview (out of six episodes); considering the tone of the series, one can only hope it won’t be used solely as a means to portray her as a potential victim.

Here’s one way to rephrase that in a more conversational style:

I must admit, the intricate web of conspiracy in “La Máquina” doesn’t quite captivate me as much as the other aspects of this exceptional series. Don’t get me wrong, every artist has their creative freedom to explore themes they deem fit, but for me, the friendship, love, and time-related stories are what truly shine. If you were to carefully trim the conspiracy plotline, I firmly believe that “La Máquina” would still stand as a top-tier series, rich with genuine emotions and captivating relationships. When it’s not sending chills down your spine, “La Máquina” is breathtakingly beautiful, authentic, emotional, and delightful to watch.

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2024-10-08 21:32