The Maldonado Miracle

Just months after successfully steering stubborn "Frida" to the screen as producer-star, Salma Hayek can add another well-earned hyphenate to her bio with directorial bow "The Maldonado Miracle."

Just months after successfully steering stubborn “Frida” to the screen as producer-star, Salma Hayek can add another well-earned hyphenate to her bio with directorial bow “The Maldonado Miracle.” This disarmingly old-fashioned ensemble piece pulls off a neat trick, imbuing its religiously themed story with secular bemusement and inspirational respect, keeping the corn (for the most part) from growing too high. Digitally shot Showtime-Hallmark presentation is by nature more a prestige tube item than a theatrical prospect, though it might pick up some hardtop distrib in Catholic/Latin territories. Regardless, deftly handled project bodes well for Hayek’s future efforts behind the camera.

Which is where she stays here, by the way; pic generously showcases a cast that clearly enjoyed coming together as a fictive community. There aren’t many residents left in the dusty Southern California burg of San Ramos, a onetime silver-mining town that’s seen its economy and populace wane for two decades. Even the parish priest, Father Russell (Peter Fonda), has applied for a transfer — saying he thinks people here have lost hope, though it appears he’s the most deficient in that regard.

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One night, illegal alien child Jose (Eddy Martin) wanders into town with an untreated arm wound and his dog. They spend a first evening hiding in the scaffolding above the church’s giant crucifix. Jose, who crossed the border looking (fruitlessly so far) for his migrant worker father, has already found different digs in which to hide by the time middle-age Josephina (Soledad St. Hilaire) arrives for her morning prayers. She runs out screaming that a “miracle” has occurred — blood “tears” appear to have flowed from the crucified plaster Jesus’ eye.

Father Russell is skeptical, as are the sheriff (Dan Merket) and some townsfolk. But attempts to keep a lid on this potential circus until police and diocese can investigate is promptly gone. Josephina’s story keeps gaining “miraculous” embellishments with every telling.

Soon crass media types, the devout and the needy all turn up, to Russell’s dismay but many other residents’ delight — San Ramos hasn’t seen this much traffic in aeons. Meanwhile, Jose’s existence has been discovered by sympathetic diner owner Maisie (Mare Winningham) as well as several less sympathetic local men. Latter figure out what might really have happened (the kid’s blood dripping from scaffold to the sculpture as he slept). Posse decides to hustle the boy outta town before the “truth” ends all this coin-minting tourism.

Last reel may pile on one or two too many throat-lumping turns for some viewers. Overall, however, Paul W. Cooper’s script (based on Theodore Taylor’s same-named novel) and Hayek’s direction soft-pedal sentiment via liberal helpings of character detail and humor. Serving those last qualities best are an expertly teamed Winningham and Ruben Blades (as the local bar owner). Their very awkward courtship is the most delightful among several subplots.

HD lensing is exceptionally warm and fluid, production values well handled in all aspects, though at bottom line, feature never fully escapes a telepic feel.

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