Columns

The father of contemporary comedy in Mexico, Mario Moreno Reyes, “Cantinflas,” is also the title of the film now showing, directed by Sebastian del Amo, nominated by the Mexican Academy of Cinematographic Arts and Sciences to represent Mexico for the Oscar for Best Foreign-Language Film.

In three days Mexico will mark one of its most important and its most popularly celebrated patriotic dates, September 16, commemorating the beginning of this nation’s struggle for independence from Spain. For foreign residents and visitors in Mexico, September 16 often prompts the impulse to make comparisons. But they are not alone.

While descriptions of Guadalajara at its founding are many, few have been left by on-the-scene observers. Even fewer are free of excusable, but distracting, boosterism prompted by the pride that pioneers legitimately possess concerning simply surviving the rigors of a rough and unexplored land.

This week’s 22th Encuentro Internacional de Mariachi y Charreria (22nd Annual International Mariachi and Charreria Festival) is a perfect opportunity to enjoy two musical forms that constitute the core of Mexico’s folkloric music: corridos and canciones (which includes ranchera).

Lupe Pimentel, a large, sweet-faced woman whose nickname is La Molacha — Gap-tooth, she is missing several upper front teeth — was at the door in tears. Her eight-year-old son, Chuy, had broken his leg, she thought. Could I drive him to the pueblo’s clinic?

The techniques, exasperations and informative joys of bargaining are familiar subjects to long-time foreign residents and visitors in Mexico. But the proliferation of supermarkets and the merchandising practice at many public and street markets of placing fixed prices on goods has confused some newcomers to Mexico, muddying concepts of inter-cultural exchange.