Casa Bonita Mi Amor!
Eric Cartman, the rugged mouthed group leader of the boys in “South Park,” has a permanent booking at Casa Bonita which is a redesigned restaurant built in the 1973 style situated in Denver Colorado. In the 2003 episode where Cartman goes to spend some time in this ‘kitsch and questionable food’ heaven, Trey Parker , co creator of colliding animated series, dedicated good amount of time and resources in bringing back the restaurant to its glory but also improving its maximalist design. The hard (and costly) reconstruction is described in the movie of Arthur Bradford “Casa Bonita Mi Amor!”
This playful documentary, on the true and often quite humourous story willing and able to make a child put the millions necessary to fulfill his own Disneyland dreams, at times makes one dizzy with Parker’s all or nothing drive to force the work at hand even when walking away would be the smarter option. The other head behind “South Park”, Matt Stone, takes a back seat but is all about sitting on risk and the base in order to realize a dream that is dear to Parker.
With a pasteled exterior of a comfortable and dramatic typical looking Catholic church of many centuries, Casa Bonita’s very large open area included a swimming pool for cliff divers to do their acts in a feature that was modelled on a tourist draw in Acapulco, Mexico winding stalactite caves where children could hunt and search, as well as a whole host of characters out of a hazy Gold Rush style prophetic period.
The videos from its heyday can assist individuals who have never visited the location experience the unique atmosphere of the place.
The recollections of Parker having wandered around this 3×3 walls nonsensical amusement park and the prospect of acquiring the estate after it was shuttered due to COVID-19 are almost delusional before he encounters the heavy reconstruction works that are required.
Except for the food that many locals say, looked to them as though it were frozen enchiladas that were slapped in the microwave way too long, these devotees, most of whom reside in Denver, are also in accord and disturbed by the fact that these food lapses had been all through. In this case, the native of Mexico Rodriguez will now be able to work on design a true Mexican culinary fusion in Colorado. When one hears the words “Casa Bonita” in conversation, it is foolhardy to imagine it as a hot Mexican eatery. The interpretation could read more or less. For all native speakers of Spanish, it is a hypothetical question. Among the many things, one can say that such slippages are rather welcome for a lot-zestril business up started by Americans for Americans which went through some time to conclude with a Mexican’s Disney World Execution of Pirates, an ordinary Mall arcade or EPCOT. Not at all, this is precisely where the charm of its antiquated appeal gets to rest.
The disconnection between what Casa Bonita represents and actually is comes from within its clientele. All seem to agree it’s tacky but they like what it represents so much that the very lack of good practice only complements the experience it rolls out point on point.
There is evidence to suggest that Parker did go to Mexico with Dana to Oaxaca, a southern state of Mexico, to buy decor, to have authentic Mexican cuisine and to get some ideas. The aim was never to recreate the country’s tastes and flavors, but, to incorporate them into the Casa Bonita concept. It is Parker, however, who describes the movie “Fun in Acapulco,” an Elvis Presley picture from 1963, as best capturing the monochromatic but slightly insensitive perception of Mexico that resides in Casa Bonita.
As Parker and Stone interview for the Emmys, there’s plenty of uncomfortable candidness, as they realize how crazy their ambitions and pursuits are. Of course, that type of ill-conceived disorientation makes sense for two guys who went to the Oscars in a reversible ‘I’m with stupid’ shirt. More interestingly, Bradford illustrates Parker’s active and even manual storytelling in the production processes of this amusing restaurant: recording voices for the new animatronics, casting the actors performing time agnostic characters, or designing a new puppet theater with a taco as a chief character. Those instances where they showcase their talent for making people laugh make them feel like the ideal inheritors of Casa Bonita.
It’s not just the money that they possess in sufficient amounts, but their outlandish ideas help them look at the place in terms of worth even beyond its business returns; its returns are of greater emotional satisfaction.
The eye watering figure they finally forked out, in excess of $40 million, is not unreasonable in the joy that oozes out of other people when arriving back at Casa Bonita. What’s the trouble with being a wealthy person if one cannot turn his childhood dream, and the dream of many others, into a reality? And even if it feels like an expensive ad for Bradford’s documentary, it makes all one wants to do is book a table. (You will need to wait, the waitlist has hundreds of thousands of names).
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