Gregory Nava’s “My Family” unfolds like a cherished family dinner, where generations gather around a crowded table, sharing stories of joy and sorrow, honoring ancestors, and looking ahead to the future. This cinematic tapestry, helmed by the visionary director Gregory Nava, is an epic journey seen through the eyes of the Sanchez family. Their saga begins with a father’s courageous walk from Mexico to Los Angeles in the 1920s and blossoms into the lives of his diverse children: a writer, a nun, an ex-convict, a lawyer, a restaurateur, and a son tragically lost too soon.
An Epic American Family Story
“My Family,” directed by Gregory Nava, is more than just a movie; it’s an immersive experience that captures the vibrant energy and profound emotions of a family’s journey through life. The film’s narrative power is evident in its ability to evoke both laughter and tears from its audience, a testament to Nava’s skillful direction and the story’s universal themes. In an era where such expansive, life-embracing films are rare, Gregory Nava’s “My Family” stands out as a powerful representation of the great American immigrant narrative. It’s a story of how families arrive in a new land, striving to build a better future for generations to come. This is the heart of “My Family,” a film by Gregory Nava that resonates deeply with anyone who understands the importance of roots and heritage.
From Mexico to Los Angeles: The Journey Begins
The film opens in the 1920s, introducing us to Jose Sanchez, portrayed by Jacob Vargas, embarking on what he believes will be a short walk from Mexico to “a village called Los Angeles.” His destination is the home of a relative, El Californio, a man who embodies the historical transition of California. However, Jose’s journey is far from brief; it stretches into a year-long odyssey. El Californio, an old soul played with quiet dignity, was born when Los Angeles was still Mexican territory. His desire to have inscribed on his tombstone, “and where I lie, it is still Mexico,” speaks volumes about identity and belonging. His modest house in East Los Angeles, nestled under a bridge on a dirt street that remarkably still exists, becomes a central symbol for the Sanchez family. Over time, this house evolves, growing with the family, gaining layers of paint, windows, and a welcoming picket fence.
Love, Loss, and Resilience in the 1930s
Jose crosses the bridge into the Anglo neighborhoods, seeking work as a gardener. It is there he encounters Maria, brought to life by Jennifer Lopez, who works as a nanny. Their love blossoms, leading to marriage and a growing family. However, the joy is abruptly disrupted by the harsh realities of the Depression era in 1932. Government troops, in a dark chapter of American history, round up Maria along with tens of thousands of other Mexican-Americans – many of whom, like Maria, are American citizens. They are unjustly deported in cattle cars to central Mexico, under the false hope that they would never return. “This really happened,” the narrator, Paco (Edward James Olmos), a writer and Maria’s son, somberly tells us, grounding the film in historical truth. Yet, Maria’s spirit is unbreakable. Clutching her baby, she bravely fights her way back to her family and the home she cherishes.
Generations of the Sanchez Family
As the narrative progresses from the 1930s to the late 1950s, we are introduced to the expanding Sanchez family. Paco, the narrator, guides us through the lives of his siblings: Irene, radiant on her wedding day; Toni, who dedicates her life to the church as a nun; Memo, with aspirations for law school; Chucho, drawn to the allure of street life; and little Jimmy, “whose late arrival came as a great surprise.” Gregory Nava and his co-writer and producer Anna Thomas masterfully weave these individual stories into the larger family saga.
Vivid Storytelling and Cultural Commentary
Nava’s storytelling is characterized by vivid and impactful sequences. Irene’s wedding, a joyous occasion, is suddenly disrupted by a gang confrontation instigated by the hotheaded Chucho. Paco’s narration wryly comments, “it was the usual macho bull- – – -,” foreshadowing the tragic consequences of such posturing. Chucho’s life is ultimately cut short by violence, a devastating event witnessed by young Jimmy, leaving lasting emotional scars. Toni, played by Constance Marie, embraces her calling as a nun and ventures to South America, becoming politically active. Her return home is marked by a scene that deftly blends social commentary with humor, showcasing Nava’s ability to tackle serious issues with a touch of levity. Memo, portrayed by Enrique Castillo, indeed becomes a lawyer, humorously introducing himself to his Anglo in-laws by explaining that his name is “basically Spanish for ‘Bill’.”
Jimmy and Isabel: Love Amidst Struggle
One of the film’s most memorable storylines involves Toni’s activism. Deeply concerned about a young woman from El Salvador, Isabel (Elpidia Carrillo), facing deportation and potential death due to her family’s political affiliations, Toni enlists Jimmy (Jimmy Smits). In a sequence that transitions from hilarious to deeply moving, Jimmy agrees to marry Isabel to prevent her deportation. Instead of a traditional kiss, Jimmy ominously mutters “you owe me” to his sister, highlighting the unusual circumstances. This initial arrangement between Jimmy and Isabel evolves into a genuine love, culminating in a beautifully rendered love scene where they share their painful pasts and find solace in each other.
Family Bonds and Enduring Love
In scenes set in the 1950s and 1980s, Jose and Maria are now portrayed by Eduardo Lopez Rojas and Jenny Gago, aging gracefully but still deeply connected to their family. They are depicted waking up at night, their worries centered on their children. Paco’s voiceover notes, “thank God for Memo going to law school, or they would have never gotten a night’s sleep,” underscoring the constant parental concern. Jimmy, particularly tormented by the loss of his brother Chucho, remains a source of worry. Yet, the strength of the Sanchez family lies in their unity and unwavering support for one another. Paco poignantly observes, “In my home, the difference between a family emergency and a party wasn’t that big,” illustrating the vibrant, sometimes chaotic, but always loving heart of their family life.
A Visually Stunning Film by Gregory Nava
Gregory Nava, acclaimed for his earlier masterpiece “El Norte” (1984), which received an Oscar nomination for its screenplay, brings an exceptional visual artistry to “My Family.” Working with cinematographer Ed Lachman, Nava employs a rich palette of colors, filters, smoke, and striking shafts of sunlight to create scenes of painterly beauty. He even enlisted painter Patssi Valdez to design the interiors of the Sanchez home, further enhancing the film’s visual richness. “My Family” is not just in color; it is a film celebrated for its expressive use of colors, creating a visually captivating experience.
Conclusion
Through laughter, tears, and vibrant storytelling, “My Family,” directed by Gregory Nava, allows the strong pulse of the Sanchez family to resonate deeply. The film culminates in a quiet yet profoundly moving closing scene between the elder Jose and Maria, encapsulating a lifetime of shared experiences, joy, and heartache. Rarely does a film so effectively convey the passage of time, the weight of history, and the enduring power of family legacies passed down through generations. Watching “My Family,” one is reminded of their own family’s stories, heroes, and perhaps even stray sheep, and the unbreakable sense of home. In a poignant moment, young Jose, upon hearing about Los Angeles being in “another country,” asks, “What does that mean – `another country’?” This simple question encapsulates the immigrant experience at the heart of Gregory Nava’s “My Family,” a film that ultimately speaks to the universal language of family and belonging.
