As a die-hard fan of international television and someone who has spent countless hours watching boxing matches (both real and fictional), I must say that “La Máquina” has certainly piqued my interest! The combination of sports, drama, comedy, and mystery is quite unique, and the fact that it’s led by none other than Gael García Bernal and Diego Luna makes it even more enticing.
In the realm of top-tier scripted television series, Apple TV+’s “Pachinko” and HBO’s “My Brilliant Friend” have dominated the fall season, making it a particularly successful period for non-English productions.
The show named The Machine, known as Hulu’s initial Spanish-language original production, doesn’t quite reach the creative pinnacle. However, its unique blend of sports conspiracy, melodrama, and comic thriller might attract a wider audience due to its generally brisk tempo and assortment of somewhat unexpected turns – not to mention the delightful reunion of longtime companions, collaborators, and production partners Gael García Bernal and Diego Luna. Their combined star power effortlessly propels this six-episode limited series.
Bernal portrays Esteban “The Machine” Osuna, a Mexican boxing great who’s approaching the final chapter of his distinguished career following a sudden first-round KO. With over 70 professional fights under his belt and dealing with the aftermath of addiction, former drug addict Esteban is eager to rebuild his life post-divorce from captivating journalist Irasema, played by Eiza González.
However, Andy, who is Esteban’s friend and manager with a strong affinity for Botox, is keen on bringing La Máquina back to the ring for another fight – a repeat performance that could catapult him into greater fame, or alternatively, draw him into a wide-reaching conspiracy that may imperil his life as well as the lives of those he cares about deeply.
The situation grows even more intricate as Irasema delves into a case entwined with some of the most influential boxing organizations in fervent Mexico, and as Esteban grapples with the confusion caused by years of neurological damage, finding it difficult to discern between reality, illusion, and hidden truths from his past.
The Machine deviates from the conventional structure and style of a telenovela, despite Lucía Méndez’s captivating, over-the-top portrayal as Andy’s domineering mother. However, under the direction of creator Marco Ramirez (Netflix’s Daredevil), it achieves what exceptional telenovelas do – breaking free from traditional classifications. It’s a blend of buddy comedy and a realistic drama tackling issues like exploitation and corruption within the Mexican boxing scene. Romantic elements are present, with Dariam Coco as Esteban’s new love interest being one of the series’ less developed aspects. The narrative also includes intense moments of tension and violence.
In this piece, it’s Director Gabriel Ripstein (known for ‘Narcos’) who takes on the role of managing the show’s tone effectively, for the most part. The premiere episode, compressed to fit within 52 minutes what would normally span at least three or four hours of action, is somewhat less successful compared to the other four episodes reviewed. It incorporates two significant boxing matches (with one extensively shown on-screen and the outcome of another revealed abruptly), as well as their training sequences. Furthermore, it presents most of the characters and lays the groundwork for many ongoing storylines. While it’s engaging, the pace feels disjointed and hurried.
Moving forward, unlike many streaming and cable series, La Máquina exhibits an uncommon trait: As it progresses, it broadens its narrative scope, yet episodes grow shorter, more concentrated, and more assured. Initially comedic characters develop a deeper emotional resonance. Actions lead to tangible, swiftly realized repercussions. The enigmas become truly intriguing, albeit sometimes frustratingly so. I struggle to anticipate how the season’s larger storylines will be resolved in the finale, even after watching a fifth episode that effectively resolved some key character-driven conflicts.
Both Bernal and Luna play crucial roles in harmonizing the diverse aspects of the series. Typically, Andy’s character could come off as foolish due to his excessive makeup and prosthetics that portray his obsession with youth. However, Luna doesn’t shy away from making Andy seem absurd, especially during a scene where he is subjected to increasing humiliation at an otherwise solemn occasion. Despite laughing at Andy’s exaggerated lips, wavy hairpiece, and artificial tan, Luna always manages to reveal the tragic side of this character who aspires to be a competent manager, friend, husband, and potential father, yet struggles in each role.
In the biopic “Cassandro,” Bernal excelled at portraying a unique form of physical combat, but his performance in the boxing scenes of “La Máquina” seemed less convincing. However, if his gloves appear too large and his footwork seems sluggish, it merely underscores the fact that Esteban, as a past-his-prime character, should seem out of sorts. Bernal skillfully conveys the sadness and questionable integrity of his character through his graying temples and hesitant, flickering eyes.
Combining Bernal and Luna creates a spark once again, and they consistently lift those around them, including González who showcases an intensity born of pain, a dimension seldom seen in her English-language roles. It’s clever how Irasema is portrayed as a journalist involved in the mystery-solving rather than just a patient endurer, though it seems this plotline might not be fully developed given the time constraints for the finale.
Apart from the three main stars, La Máquina features impressive performances from Andrés Delgado as Andy’s quirky brother-in-law Saul (perhaps a tribute to Mexican boxing icon Saul “Canelo” Alvarez); Karina Gidi as Andy’s wife Carlota, who brings a blend of humor and emotion; and Jorge Perugorría, bringing unexpected hilarity to his role as Esteban’s coach Sixto.
It’s only natural for me to yearn that the series La Máquina had more than six installments to unfold its story. With so many elements it aims to explore – the impact of CTE on boxers, the class struggle embedded in Mexico’s century-long passion for boxing, and the previously mentioned romantic and journalistic subplots – I fear some aspects might not receive the attention they deserve. Beyond that, however, I found myself captivated by the way this story was being woven together. I would eagerly welcome additional episodes of this intriguing, unpredictable blend.
Read More
Sorry. No data so far.
2024-10-09 16:56