As the years pass, I realize that the world is laden with real-life inspirational sagas, just waiting to be found. And shared.
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| While Geco (Anthony Gonzalez, far left) and Omar (Jimmy Gonzalez, far right) watch apprehensively, Malloy (Dennis Quaid) hastily shows Moco (Miguel Angel Garcia) how to hold the pole and "play" the line, while trying to land the marlin that has just been hooked. |
Director/co-scripter Julio Quintana’s Blue Miracle is aptly titled, given its depiction of actual events that only can be described as miraculous. Granted, we know where this story is going — otherwise, the movie certainly wouldn’t exist — but that doesn’t minimize the heartwarming journey.
The time is late summer 2014, the setting the Casa Hogar Orphanage in Cabo San Lucas, which houses roughly 40 orphans and runaway boys who’d otherwise be living rough — and likely dying — on the streets. The place is managed by dedicated “foster parents” Omar and Becca Venegas (Jimmy Gonzales and Fernanda Urrejola), who’ve relied on donations to maintain their six-year-old operation.
The place is rowdy and humble, but the atmosphere is warm and caring. Omar insists that the boys call him “Papa Omar,” and most are cheerfully willing to oblige. Becca, in turn, works miracles with three shoestring-budget meals each day.
But funds and donations have evaporated, and Omar has been dodging calls from the bank; foreclosure seems imminent, which is beyond horrifying. What will happen to all the boys?
Adding insult to injury, Hurricane Odile abruptly changes course and slams into Mexico’s southern Baja California peninsula, flooding and severely damaging the orphanage. Now needing additional money for repairs, the situation appears hopeless.
On an entirely different scale, the hurricane has depleted entries for the annual three-day, big-money Bisbee’s Black & Blue Marlin Tournament, which has taken place in Cabo every October since 1981. More than 150 teams usually pay $5,000 to enter what is regarded as one of the world’s most prestigious sport fishing competitions, with winners angling for millions in prize money.
(Although Quintana and co-writer Chris Dowling don’t take anything approaching a strident tone regarding the disparity between the cash-strapped Casa Hogar Orphanage, and the obscenely wealthy international visitors who arrive with their luxurious sport fishing boats, the contrast is impossible to miss.)
In an effort to enhance the participant roster, and bring relief to local charter captains, Wayne Bisbee (Bruce McGill) and an anonymous donor collaborate to cover the entry fee for any team that employs a local captain and his boat.
Enter the gruff, cranky, down-on-his-luck Wade Malloy (Dennis Quaid), skipper of a rundown fishing vessel aptly dubbed the Knot Enough. He desperately wants to enter the competition, but — being American — isn’t considered “local,” and therefore doesn’t qualify for the waived entry fee.
Until Bisbee points out that, by partnering with Omar and several of his boys — the ultimate Hail Mary play for the imperiled orphanage — he would qualify.
Furthermore, should a marlin be hooked, Malloy won’t be allowed to reel it in; that honor must fall to one of the “Team Casa Hogar” participants.
Omar hasn’t fished since he was a child, and none of his charges has ever even been out in the ocean. On top of which, Malloy is horrified by the mere thought of “kids on my boat.”
At which point, we have all the ingredients for an engaging feel-good saga, which Quintana delivers with entertaining aplomb.
This sure-fire formula is augmented by the five boys on whom the story focuses, each of whom is deftly individualized and well-played by the respective young actor. Omar initially selects three to join him on the Knot Enough:
• Geco (Anthony Gonzalez), a serious El Chaparral teenager who tends toward pessimism, and displays more regional pride than the others;
• Hollywood (Nathan Arenas), a cheerful, long-haired jokester given to mildly bawdy commentary, so nicknamed due to his love of Western pop culture; and
• Wiki (Isaac Arellanes), a shy and quiet boy who is a fount of knowledge, thereby having earned his nickname.
Tweety (Steve Gutierrez), one of the orphanage’s youngest members, is too small and must be left behind. But he’s also the most deeply religious, and his faith — in God, in Papa Omar, and in the entire Team Casa Hogar endeavor — proves crucial more than once.
A few days earlier, Omar also crossed paths with Moco (Miguel Angel Garcia), an older, more sullen El Zacatal street teen who believes himself too tough and “cool” to waste his time with such nonsense. Nor does he wish to bunk at Casa Hogar, and he sure as hell isn’t about to call Venegas “Papa Omar.”
Will he also wind up on the Knot Enough? (C’mon … whaddya think?)
The numerous interpersonal dynamics are deftly scripted and portrayed. Jimmy Gonzales’ scenes with little Gutierrez are sweet and quite touching, as each tries to encourage the other; Anthony Gonzalez and Garcia persuasively establish prickly antagonism, having comes from rival neighborhoods. Arenas is a jovial hoot, with a flair for well-timed one-liners.
Jimmy Gonzales capably anchors the film. Omar is passionate, dignified, kindly and — most crucial — honorable. We want this situation to work out, somehow, because he clearly deserves a positive outcome.
Raymond Cruz — late of TV’s The Closer and Major Crimes — pops up as Hector, an estranged “friend” of Omar’s from their larcenous youth (which Omar has worked hard to atone for). Cruz, superficially jovial but exuding malevolence, is suitably creepy.
Silverio Palacios gets plenty of good moments as Malloy’s resourceful assistant, the most frequent target of the skipper’s temper tantrums. Dana Wheeler-Nicholson’s Tricia Bisbee is the sole character who’s noticeably under-written; she contributes nothing.
Quaid, finally, is absolutely in his wheelhouse as the irascible Malloy: crusty, grizzled, impatient and long-suffering. Although Quaid’s performance looks and sounds reasonably authentic — you gotta love his manic, wide-eyed expressions — most of his outbursts are played for mild comic relief. It’s hard to take his eruptions too seriously.
It’s also important to note that Wade Malloy is this film’s sole completely fictitious character. Team Casa Hogar actually was skippered by the very Mexican Ernie Cossio, a thoroughly capable and long-successful charter fisherman whose boat, the Mucho Bueno, was a sleek and pristine vessel. “Wade Malloy” was a lure designed to attract Quaid, who then channeled his inner Ernest Hemingway.
(As Arenas’ character likely would crack, “Well, that’s Hollywood.”)
So, OK; Quaid and the dilapidated Knot Enough further enhance this saga’s underdog elements … and there’s no denying the entertainment value of his performance.
Hanah Townshend’s dramatic score frequently yields to a lively assortment of Urbano Latino pop/rap tunes by Lecrae Funky, GAWVI, 1K Phew and numerous other performers; the songs definitely enhance the film’s lively and uplifting atmosphere.
Quintana and editor Sandra Adair maintain a crisp pace, and the 95-minute running time feels just right. This may be a “little” film, but it has a lot of heart.
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