Эль Мариачи: История о музыке, мести и ошибке

1992 film

El Mariachi is a 1992 Spanish language American independent neo Western action film and the first part of the saga that came to be known as Robert Rodriguez's Mexico Trilogy. It marked the feature length debut of Rodriguez as writer and director. The Spanish language film was shot with a mainly amateur cast in the northern Mexican border town of Ciudad Acuña, Coahuila, Mexico across from Del Rio, Texas, the home town of leading actor Carlos Gallardo as the title character. The US$7,225 production was originally intended for the Mexican home video market, but executives at Columbia Pictures liked the film and bought the American distribution rights. Columbia eventually spent $200,000 to transfer the print to film, to remix the sound, and on other post production work, then spent millions more on marketing and distribution. The success of Rodriguez's directorial debut led him to create two sequels (Desperado and Once Upon a Time in Mexico) with Antonio Banderas taking over from Gallardo for the character, though Gallardo co produced both films and had a minor role in Desperado. In 2011, El Mariachi was selected by the Library of Congress for preservation in the United States National Film Registry for being "culturally, historically, or aesthetically significant". The film is also recognized by Guinness World Records as the lowest budgeted film ever to gross $1 million at the box office.

After breaking out of jail in a small Mexican town, a ruthless criminal, nicknamed Azul, ventures off with a guitar case full of weapons and vows revenge on the local drug lord, Moco, who had him arrested in the first place. Meanwhile, a young musician arrives in town carrying his own guitar case which contains his signature guitar. He hopes to find work in the town in order to pursue his dream of becoming a mariachi like his father. From the confines of his heavily guarded villa on the outskirts of town, Moco sends a large group of Sicarios to kill Azul. They are told to look for a man who is wearing black and carrying a guitar case, but because the Mariachi also matches this description, the hitmen mistake him for Azul and start pursuing him. Only Moco, however, knows Azul's actual face. The Mariachi is then forced to kill four of the attackers in self defense after being chased through the streets. As the Mariachi seeks refuge in a bar owned by a beautiful woman named Dominó, he quickly falls in love with her. Unfortunately, Moco is not only financing the bar, but also has his own romantic interest in Dominó. When Azul visits the bar for a beer and information about Moco, he accidentally leaves with the Mariachi's guitar case. Moco's thugs capture Azul on the street but release him when they learn that the case he is carrying contains only a guitar. A short time later, the Mariachi is captured and taken to Moco, who identifies him as the wrong man and sets him free. Meanwhile, Azul, who has no directions to Moco's home, takes Dominó with him and orders her to take him to Moco's, or Moco will kill the mariachi. Dominó agrees to save the Mariachi's life. When they arrive at Moco's gated compound, Azul pretends to take Dominó hostage in order to gain entry. Moco soon realizes that Dominó has fallen for the Mariachi and, in a fit of rage, shoots both her and Azul. Suddenly, the Mariachi arrives to find the woman he loves gunned down. Moco then shoots the Mariachi's left hand, rendering him useless as a guitar player, and proceeds to taunt and laugh at the Mariachi. Overcome with grief and rage, the Mariachi picks up Azul's gun with his right hand and kills Moco, avenging Dominó's death. Moco's surviving henchmen, seeing their leader dead, walk off carelessly and leave Moco's body and the wounded Mariachi behind, as Moco had consistently treated them disrespectfully. The Mariachi leaves the town on Dominó's motorbike, taking her pit bull and her letter opener as mementos of her. His dreams to become a mariachi have been shattered, and his only protection for his future are Azul's former weapons, which he takes along in the guitar case. He rides off into the sunset.

The film was shot in numerous locations in Ciudad Acuña, Coahuila, located in Northeastern Mexico adjacent to Del Rio, Texas. The film used 16 mm film and was shot in 14 days. Rodriguez had a $7,000 budget (7000.0 in 1991 is equivalent to about <calculated amount> in recent years), almost half of which he raised by participating in experimental clinical drug testing while living in Austin, Texas. The opening scenes, featuring a shootout in a jail, were filmed at the local Acuña jail situated on the outskirts of the town. This is why he cut costs at every possible opportunity. He did not use a slate; the actors, instead, signaled the number of scene and number of take with their fingers. He did not use a dolly, and instead held the camera while being pushed around in a wheelchair. He did not use synchronised sound; rather, he shot the film silent, then recorded on set audio so it could be synced in post production. Professional lighting was replaced by two 200 watt clip on desk lamps. No film crew was hired; actors not in the scenes helped out instead. Bloopers were kept in to save film: Rodriguez is visible on a bus with the Mariachi; the Mariachi bumps his weapon into a street pole; he fails to throw his guitar case on a balcony; and Dominó twitches her face when she is already dead.

The film received universal critical acclaim. Review aggregator website Rotten Tomatoes shows a 91% score based on 75 reviews, and an average rating of 6.9/10. The site's consensus states: "Made on a shoestring budget, El Mariachi story is not new. However, the movie has so much energy that it's thoroughly enjoyable." Metacritic reports a 73 out of 100 rating based on 9 critics, indicating "generally favorable reviews".

El Mariachi won multiple international awards, including the Independent Spirit Award for Best First Feature (beating out MTV Movie Award for Best Movie winner Menace II Society). Writer/producer/director Rodriguez went on to gain international fame; he was interviewed on such shows as Sábado Gigante and proceeded thereafter to secure Hollywood backing for films such as The Faculty and Sin City. In December 2011, El Mariachi was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry. Citing it as the film that "helped usher in the independent movie boom of the early 1990s", the Registry gave special mention to director Robert Rodriguez and his ability to merge two separate genres of films—"the narcotraficante film, a Mexican police genre, and the transnational warrior action film, itself rooted in Hollywood Westerns"—successfully "despite the constraints of a shoestring budget."