For the majority of Michael Peña’s illustrious career, the talented actor has been resigned to taking on smaller, supporting roles, rarely given the platform to show off his credentials as a force in Hollywood as a leading man. However following on from arguably his finest turn yet, in buddy cop drama End of Watch, there was a wishful optimism that perhaps now his time has finally come. Well it certainly seems to have been a wish fulfilled, as he’s since been awarded what could be considered to be his first major leading role, in Diego Luna’s Cesar Chavez – and he does not disappoint.
Based on real events, Peña takes on the role of the eponymous protagonist, Cesar Chavez, a civil rights activist, incensed on securing higher wages for compatriot farm workers. Mexicans, along with Filipinos, were working arduous days for absolute pittance, and thanks to Chavez, supported by his loyal wife Helen (America Ferrera), they found the confidence to rise against their employers and the local xenophobes (of which the police are included), to begin striking – embracing a non-violent approach in the process. Though only low-key to begin with, the news filtered across the nation, inspiring people from various walks of life to stand up and fight for equality, as we follow this one man’s remarkable journey.
Also starring the likes of Rosario Dawson and John Malkovich, Cesar Chavez bears a similar tone and atmosphere to the likes of Dallas Buyers Club and Milk, in how we depict the rise and rebellion of the underdog in society, led by one, impassioned individual – comparisons to the latter are validated considering the director Luna had himself starred in the Gus Van Sant production. Yet unlike the above, Chavez isn’t quite as overtly dramatic a lead, not as much of a vessel for a stunning performance. Instead Peña has to work even harder to be recognised, as it’s a far more understated, subtle turn, with less grandiose, centrepiece sequences. That’s not to say Chavez is not an absorbing character however, as his flaws and indiscretions are portrayed, as his somewhat outdated ideals in regards to his marriage are explored, as is his broken relationship with his son, who he disregards for a life on the road, fighting for his cause. He may be striving for equality, but often forgets about the more personal issues on the home-front.
Such understatement of this character extends to Luna’s entire exploration of this time, as while many filmmakers would take an inspiring tale such as this and embellish reality for cinematic purposes, in this instance it seems in some cases he’s understating what genuinely occurred. Luna has a tendency to implement real footage from the time (which he does expertly throughout) and such moments tend to seem even more immense, and impactful than what we’re seeing performed. Instead we’re focusing more on the individual and the hope and belief this one man managed to ignite, and it’s an intimacy that our filmmaker remains faithful to throughout.
Regrettably the family dynamic is not delved into with quite enough depth however, as we merely touch upon the intriguing father-son relationship. However it’s one of a mere few blemishes on an accomplished sophomore endeavour for Luna, who has taken the move from acting to directing with such confidence and ease.
[Rating:3/5]
