Single Action

Memphis Flyer

DIRECTED BY: Carlos Gallardo

REVIEWED: 02-09-98

The 1994 assassination of Mexican presidential candidate Luis Donaldo Colosio shook Mexico like few political events. It’s an easy comparison to John F. Kennedy’s murder, considering how few Mexicans believe the single-assassin theory, even though the Mexican government wasn’t able to prove much more than that.

In fact, Mexico is a bigger breeding ground for wild political rumor than the United States, given the corruption and secrecy the government has displayed for generations. And there has been no better victim to spark outrageous theories than Colosio. A reformer, he was the people’s candidate. Given Mexico’s internal turbulence, it’s doubtful if Colosio would have ever created a Hispanic Camelot, but, having died before ever having the chance to screw up, his legend has been sealed by his murderer.

Mix innuendo, reality, and a storyline, and create a political movie. Single Action is Mexico’s JFK, although director Carlos Gallardo makes it clear in an introduction that he doesn’t purport to represent reality. “There are many stories about how the assassination took place,” the text reads. “This is one of them.” The most interesting scene in the film, however, occurs before the credits, involving viewer speculation about how many bullets it will take before an obese Mexican guy takes a fatal crash to the floor. The clod was caught in the crossfire between some outlaws – including attractive, gun-toting Mexican women – and agents from the Mexican government, though this isn’t explained until later.

This is a bad film. The movie’s been dubbed instead of subtitled, which makes the actors cartoonish (voice-overs cannot handle cliched dialogue). The story is set in a small, poor town which is ruled by Camaro (Oscar Castaneda), a leader of a Mexican organized crime group. A man named Colonel Manco (Miguel Gurza) watches from a window, waiting for his opportunity to prove that this nefarious Camaro played a key role in the assassination. But he is powerless until director-actor Gallardo appears as the undercover government agent sent to unravel everything.

Even if you ignore the poor editing and awful script, Gallardo ruins the movie by his presence. A baby-faced man of medium build should not be allowed to chomp on a tiny, unlit cigar and spout lines that most directors would reserve for Clint Eastwood.

Maybe this movie went over well in Mexico. It couldn’t have addressed a more relevant topic there. But in America, it’s a terrible translation.

--Phil Campbell

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