¡Casa Bonita Mi Amor! (2024)

¡Casa-Bonita-Mi-Amor!-(2024)
¡Casa Bonita Mi Amor! (2024)

The curse-loving team leader of the boys’ pack in the popular television Series “South Park, “Eric Cartman”, has a table permanently reserved for him at the new iteration of Casa Bonita. This is the aberrated Mexican restaurant based in Denver, Colorado that first started its operations back in 1973. In a similar fashion to the 2003 episode that showcased an enthralled and aged Eric who is desperate to step foot into this over-the-top homage to bad food and bad decor, the creative part of the show, Trey Parker was able to spend his energies and a load of time not only bringing it back to its original sense but improving the overall idea of this monster of a place. The following difficult (and expensive) renovation is told about in the movie by filmmaker Arthur Bradford: “¡Casa Bonita Mi Amor!”

While at the same time it is also the biopic of a son who, as an adult, managed to have enough money to build his own Disneyland and presents Casa Bonita the way it really is, a full restoration process of the restaurant and its brand who was apparently not ready for the market. Quite interesting that even at the moments when rest is suggested, Parker is fueled by his vision, and nothing else will suffice. Much less active Oakland, the other half of Southpark, more calmly subsides and stands by, ready to support the house and take some losses in a fantasy that Parker has.

Like a proactive church built hundreds of years ago, Casa Bonita’s multi-storey space encouraging cliff divers to dive into the swimming pool are fired up by an attraction inspired by Mexican Acapulco. The restaurant’s design was further enhanced by children’s caves and wilderness comprised of characters from a corrupted Gold Rush era.

It was intriguing for us who have never been there to get a glimpse of the entertaining ambiance the site had through footage from its glorious days Long ago.

The images of exploring the seemingly nonsensical confines of this wild funhouse are the memories that motivate Parker to acquire the property once the extreme restrictions of COVID-19 forced it into closure, only to find out the severe devastation that repair work had.

Even the most zealous supporters, many of whom live in Denver, agree that the cuisine what appeared like poorly reheated enchiladas straight from freezing was an afterthought. Determined to better the standard of the reviews Parker engages a Mexican chef now resident in Colorado, Dana Rodriguez to head the kitchen in an apparent bid to enhance the authenticity of the food. But there is no way to describe Casa Bonita as a real Mexican restaurant and still keep a straight face. Even the owner of the restaurant’s name, the even out of Rodriguez’s mouth, with her native speaker’s resources, does not sound with a proper Spanish accent. Whether or not that’s deliberate, it is certainly appropriate for a business established by white Americans with the then current concept – a third world “counter” of the things which are commercials for an arcade in EPCOT’s Mexico or the ride of “Pirates of the Caribbean” . That’s not a negative statement, but precisely where its antediluvian allure lies.

Once one understands what this restaurant is about, the poor quality of the initial offerings appears to be central to the overpowering cheesy kitsch that many customers so flock to.

One portion of the doc does witness Parker accompanied by Dana to the southern Mexican state of Oaxaca in search of decorative items and getting a taste of real Mexican cuisine, with the view of drawing inspiration- not to recreate the country’s tastes, but to integrate them into the Casa Bonita setting. In one particularly crucial scene, Parker notes, that it is the 1963 movie, “Fun in Acapulco” featuring Elvis Presley, that offers the best interpretation of the pale shadows of Mexico, however crude and somewhat unfriendly it’s cultural perspective, found at Casa Bonita.

They also engage in candid moments whereby the realization of the absurdity of their obsession sinks in and brings out Parker and Stone’s trademark brand of bitter wit humor. Not a terribly wise course of action – but on brand for a couple that rocked up to the Academy Awards blazed. More importantly, Bradford depicts Parker as an active participant in the creative aspects of this theme restaurant: recording voiceovers for the new animatronics, sourcing actors for the roles that can’t be pinned to specific decades, and initiating a taco puppet show. Those moments where they demonstrate their comedic flair adds up to make them suit perfectly as the rightful heirs of Casa Bonita.

Not only do they have the money that is necessary for such a business, but their outrageous creativity allows them to appreciate the place for more than its business returns; there are rewards of an emotional nature too.

The excessive amount of money they eventually spent, over $40 million, is easily forgiven in the high that other people get when returning to Casa Bonita. What’s the use of being rich when you have the chance to live out a dream most of the people would appreciate? Even as Bradford’s doc feels like a huge ad campaign, it makes you want a reservation. (You have to get in line; the wait list has hundreds of thousands of people.)

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