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Enrique Lucero, the Mexican film actor who marked us and we do not know his name

 

-This actor is great. He appears in many films.


-Yes, I also saw it in several. He's a great actor, sir.

-What's called?

- I don't know, be careful.

The question is recurrent when we talk about him after seeing him in one of the more than a hundred films in which he has participated. But of this extended filmography, two are the specific titles that generate a conversation about his performances and the characters he plays: Macario, by Roberto Gavaldon, and Canoe, by Felipe Cazals when we have the information.



Nestled in the skin and bowels of every Mexican, both films continue to be seen by audiences. To date, they produce a new reading or a new contribution to the viewer. But one thing they have in common is the name of Enrique Lucero in the credits of the cast. However, despite being among the protagonists there, a lot of people still don't know the name of the actor who impersonates Death Leaving Turkey with Macario, The same actor who plays the hated priest who provokes bile for inciting the lynching of students.

In the case of Canoe, given the current violent events in parts of the country, the film feels relevant because of the portrayal of the brutality that is being exerted against certain groups of people, as well as the influence that the leaders have. under the protection of an investiture and taking advantage of the ignorance of a community. Much of that impact is due to Lucero's interpretation as a priest.

With a military-style haircut and dark glasses, the actor imprinted sinister features on the priest who dominates the will of the people of Canoa, Puebla. A diferencia de otros representantes de la Iglesia católica en el cine mexicano, el cura de Enrique Lucero no pasa de largo para las emociones de las cinéfilas y los cinéfilos debido a su perversidad disfrazada de bondad que tiene como colofón la barbarie moldeada from the Word of God.

The reaction of discomfort and aversion Lucero elicits with his role as a clergyman in Canoe contrasts with the effect he elicits in his role as Death in Macario. The audience loves him, not as much as Macario, but they love him. With native clothes and a gentle tone in his words, the actor arouses sympathy for his good treatment of the peasant who wishes to eat a turkey without sharing it with anyone. It has also become an enduring and iconic image showing in a cave how hundreds of lighted candles are in fact human lives.

But Enrique Lucero he did more, much more. One of his main virtues as an actor was to completely absorb the trades his characters were developing, so he devoted himself to learning them and making his roles more truthful based on the stories told to him. A sample of this was in Neighborhood Angel, where he plays Kick, an ex-boxer tormented for murdering a rival in the ring and in his misfortune he makes a living as a balloonist; the knowledge acquired in boxing and balloon decoration can be seen in the film.

From the cinema of the golden age to the popular action cinema of the 80s, he has remained in film productions as one of the best supporting actors our country has had. He was able to avoid the so-called "ficheras cinema" in a scene that led many of his former colleagues on duty to participate with small appearances, a situation that contrasted with what their trajectories had been.

While it is true that for many he is and will be recognized as the actor who made Death the most famous and hated priest in the history of national cinema, it is also true that he had and has a name. It is already up to every conversation to mention it, but it is very likely that it will be spoken clearly by this person who reviews Canoe and is filled with anger when he listens to the speech with which he gives the lynching: "From now on they will not come." no longer just to see. They come to kill me so they can hoist their flag. They are coming to burn Prince San Miguel… ”.


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