Page - 160 - in JRFM - Journal Religion Film Media, Volume 05/02

This purported faith in science is especially interesting when viewed through a Mormon or Catholic lens because neither church views the Darwinist notion of human evolution as blasphemous.66 Lay members from both faiths often hold outspoken views against Darwinism and human evolution, but this possibility for the origin of humanity does not pose a doctrinal threat in either case. Hess shows that these characters’ eccentric faith borders on superstition when, after suffering a particularly crushing defeat, Steven tells Nacho that he can become a better wrestler if he consumes eagle eggs. Steven’s certainty that these eggs will imbue his friend with strength makes it clear that while he may profess a belief in science, he espouses certain mystical worldviews as well. The following scene ironically parodies the tropes of the Campbellian hero’s quest as Nacho travels by boat to a cliff hanging over the ocean.67 Hess captures the characters with a high-angle longshot that emphasizes their insignificance, while supposedly mystical, vaguely Native American instruments play in the background. Hess undermines the indigenous element to the scene when the shaman turns out to be a white, European conman.68 The director shifts to a soundtrack of holy Catholic music as Nacho scales the rock wall. After consum- ing the yolk, Nacho attempts to dive off the cliff; however, he both farts and bel- ly flops. Once again, Hess undermines familiar tropes of cinema and mythology to emphasize the titular character’s flawed faith. After losing yet again, Nacho realizes he was tricked and angrily tells Steven, “the eggs were a lie”. He de- cides that he should not continue fighting because his place is with the orphans at the monastery. This scene both shows Nacho’s growing maturity – he real- izes that he has duties that he must attend to – and sets up the circumstances under which he can finally fight “for the Lord”. Hess posits Nacho’s faith and his resulting closeness with deity as key con- tributors to his ultimate decision to continue fighting. In a last-ditch attempt to save his wrestling career, he angrily reproaches God for creating him with a desire to wrestle despite the fact that he is no good. Shortly thereafter, he sug- gests that he will abandon his dreams unless God sends him a sign showing that “you bless my mission and want me to be a wrestling servant of you”. Hess em- ploys deceptive film strategies here, particularly low-angle close-ups that frame Nacho against the ceiling mural; however, he later cuts to a side shot where we 66 In 2002, LDS prophet Gordon B. Hinckley stated that “what the church requires is only belief ‘that Adam was the first man of what we would call the human race.’ Scientists can speculate on the rest.” See Jarvik 2006. The Catholic Church has recognized no intrinsic tension between evolution and Church doctrines since the reforms of Pope Pius XII. See Pius XII 1950, 1:36. 67 Campbell identified a basic, mythic structure to hero tales in which “a hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.” See Campbell 1973, 30; Jung 1964. 68 Criollo/Nava/Aviña 2011, 241. 160 | David S. Dalton www.jrfm.eu 2019, 5/2, 141–165