Soundtracking ‘Blue Beetle’
Listen alongside Sudabée Lotfian-Mena for theological imagery in the superhero movie
Every once in a while, landmark cultural works come along that allow a new generation to rediscover obras that once spoke to the zeitgeist and, in the process, to re-embrace the effect in a contemporary context.
For Latin-American audiences in the United States, listening to the soundtrack of the superhero movie Blue Beetle (DC Studios/The Safran Company, Warner Bros. Pictures, 2023) is comparable to watching the 1950s Cuban sitcom character Ricky Ricardo (Desi Arnaz) perform "Cuban Pete" (1946) on I Love Lucy or the Puerto Rican singer/actor Ricky Martin’s 1999 Grammy Music Awards performance of "La Copa de la Vida" ["The Cup of Life"] (1998). But besides familiarizing non-Latin audiences with our family-centric culture and faith through music, the Blue Beetle soundtrack can also help propel Latin-American-inspired cultural and religious expressions into the mainstream in the same way that Ricardo’s and Martin’s explosive performances did.
Setting aside the lovely instrumental pieces by British composer Bobby Krlic and English-language songs like Mötley Crüe’s "Kickstart My Heart" (1989), Blue Beetle’s soundtrack plays like a Latin-American patchwork quilt. "Atrévete-Te-Te" ["Dare Yourself-self-self"] (2005) by Calle 13 kicks off the family-oriented action of the film and hints at the Spanglish that will dominate the dialogue moving forward. Most Latin Americans will not only immediately recognize the song, but identify with the boisterous, boundary-obliterating love that the protagonist, Mexican-American superhero Jaime Reyes (Xolo Maridueña), and his family display on screen. To be a member of a Latin-American family, for one, is to know very little privacy and to dare being vulnerable: as the song says, we are encouraged to “destaparnos” because we are en familia; we can comport ourselves en confianza.
"La Chona" (1995) by Los Tucanes De Tijuana and "Cumbia poder" [“Cumbia Power”] (2001) by Celso Piña play in the background of family scenes of similar loving chaos on screen. Interestingly, Los Panchos’ romantic ballad "Sin ti" [“Without You”] (1947) plays as Jaime and his sister Milagro (Belissa Escobedo) discuss life in their home, which is going into foreclosure. Although this romantic ballad points to eros-type love, the song plays in the background of a scene dedicated to the family’s past and present that expresses storge or the love one has for one’s family. The choice of a ballad for this scene speaks to, perhaps, the passion the Reyes family members feel for one another beyond the romantic sphere, yet the scene retains the power of emotion conveyed by the song. And emotions are all over the place, at this point in the film: while Milagros is bitter, Jaime’s bittersweet and hopeful responses match the tone of “Sin ti.”
Where is the religious in all of this, then? It is precisely in such family scenes that God is to be found, in the love that each family member holds for the other, as is also evident when "Gracias a la vida" [“Thanks to Life”] (1993) by Alberto Cortez plays while Jaime is taught by his father that life is a journey. “We’re on a journey,” he tells his son–not “I’m” or “you’re.” And perhaps the history of the song itself represents the sort of journey that Alberto Reyes (Damián Alcázar) is referencing. Originally written, composed and performed by the Chilean artist Violeta Parra in 1966, “Gracias a la vida” has been covered at least 100 times by artists from countries throughout Latin America, including (in alphabetical order, para que no se me ofendan): Chile, Colombia, Costa Rica, España, México, Perú, y República Dominicana, entre otros. The core message of the song is gratitude in the face of both suffering and joy, as we grow as people and find our way through life together. Perhaps this “hymn” is so beloved by nuestra gente because we have suffered much as a people and yet remain so grateful to and for each other–and, ultimately, to God for life itself. And so, “Gracias a la vida” beautifully mirrors the scene: at the point that the Reyes family is in serious financial straits (suffering), Papá passes on this invaluable insight to his hijo (joy).
Jaime Reyes (Xolo Maridueña, center) y familia in Blue Beetle (2023). Photo: Hopper Stone/SMPSP/DC Comics
Blue Beetle director Ángel Manuel Soto confirms that the family theme was a big priority as he was shooting the movie.
These values of familial love and solidarity continue to dominate in the powerful scene that is at the heart of the movie: the accidental transformation of Jaime Reyes into Blue Beetle, which occurs after he touches an alien scarab in the presence of his equally confused and panicked family. It is significative that "El rey" [“The King”] (1973) by the great Mexican charro Vincente Fernández plays as Jaime, fused with the scarab, is being turned into some…thing. This moment of undergoing an individual transformation en conjunto mirrors the very history of the song: Fernández had begged the song’s original composer José Alfredo Jiménez for permission to sing "El rey" (1971), and it turned out to be the defining song of Fernández’s career, propelling him to stardom. The Reyes family, likewise, does not know at the time that the scarab will end up being more blessing than curse, but Jaime’s transformation becomes a definitive moment in the life of the family as a whole. The song’s core message–that one is nothing without people with whom to share life’s moments–is also reflective of this pivotal part in the story.
One recalls Gregor Samsa, the central character in Franz Kafka’s novella The Metamorphosis (1915) who wakes up one morning transformed into an insect, and how the poor thing is reviled by his family. Jaime’s family, on the other hand, rallies around him, loving him unconditionally, even as Blue Beetle. When Jaime looks at his transformed reflection in the glass covering a framed image of Nuestra Señora de Guadalupe, one understands that this seemingly tragic family affair is not one that they will suffer alone: As any Latin-American knows, God and La Virgencita are part of la familia.
Now, it is true that oblivious Abuelita is in the next room, fa’já escuchando a Ivy Queen’s “Muchos quieren tumbarme” [“Many Want to Knock Me Down”] (2005), as all the alboroto with Jaime is occurring. However, Abuela is there at the end to hand Jaime his shoes and to receive the customary kiss on her forehead in return. Innumerable lighthearted scenes like this pepper the film. For example, while serving as lookout for Jaime, his uncle Rudy (George Lopez) rocks out, first to “Armando Sánchez” (2001) by Chalino Sánchez and then to “Bidi Bidi Bom Bom” (1994) by Selena, instead of echándole aguas a Jaime and his love interest Jenny (Bruna Marquezine)–and the villain Carapax (Raoul Max Trujillo) slips right past Rudy. Another funny scene is when the scarab Khaji-Da absconds with its host Jaime, post-transformation, to the tune of "Demolición" [“Demolition”] (1964) by Los Saicos.
Another aspect of the familiar that is in line with the most obvious of these gags–i.e., the running gag about the Mexican telenovela and eponymous theme song “María la del barrio” [“María of the Barrio”] (1995) by its star Thalía–is the idea of the greater Latin-American community as una gran familia. In Latin and Caribbean families, one’s long-time neighbor might often be called one’s tía or “auntie,” whether they are related by blood or not. In many parts of the Spanish-speaking Caribbean, most everyone is called primo, cousin or not. And just as one’s family is pendiente de uno, members of the greater neighborhood look after each other. It is therefore no surprise when the Reyes’ neighbors show up to help the family in its hour of need to the tune of “Sabor a mí” [“Taste of Me”] (1964) by Eydie Gorme & Los Panchos. Dice la canción: “Soy tan pobre, ¿qué otra cosa puedo dar?” These lyrics reflect the reality that, though everyone is poor in barrios like the one where the fictional María lives, they give what little they have and take care of their own. Love ultimately prevails, and María lives happily ever after. When Jaime, too, finally kisses his own Luis Fernándo de la Vega Montenegro–i.e., Jenny–"Nada personal" [“Nothing Personal”] (1985) by Soda Stereo humorously sweeps us into the end credits.
Display items for “Turning Cheeks? Blue Beetle and Religious Symbols: An Immersive Lecture Experience,” featuring theologian Neomi De Anda, at St. Mary's University, San Antonio, TX, 2023. Courtesy of Sudabée Lotfian-Mena and Neomi De Anda
And so, the film, but especially the soundtrack, highlights the reality that God can be found in lo cotidiano. The common dung beetle, for one, was considered sacred to ancient Egyptians; their definition for the word “scarab beetle” and the word “existence” was the same, both meaning "to come to be" or "to happen." Likewise, Leticia Ochoa Adams, author of Our Lady of Hot Messes: Getting Real with God in Dive Bars and Confessionals (Ave Maria Press, 2022), “first witnessed holiness in action” at a dive bar, where she learned “about the importance of community, being honest about who she is, not giving up on people, and how to laugh—even when awful things happen.” Admittedly, the songs in the Blue Beetle soundtrack may be, on the face of it, more culturally significative than overtly religious. However, perhaps my being part of una gran familia compels me to, like Ochoa Adams, perceive theological undertones in the words and actions narrated by these songs: to know and to feel and to sense God and faith and religiosity in them.
At the very least, the Blue Beetle soundtrack can ultimately offer those who are unfamiliar with Latin-American culture—or even those who have disengaged from their Latin-American cultural roots—a connection to a body of music that unites our gran familia.
MORE LISTENING
Levandoski, Quinn. “Blue Beetle Soundtrack Guide: Every Song In The DC Movie.” screenrant.com, 15 August 2023.
EVENT
Turning Cheeks? Blue Beetle and Religious Symbols
An Immersive Lecture Experience featuring Neomi De Anda
Thursday, 16 November 2023 | 4 pm to 6 pm
Saint Mary’s University | University Center, Conference Room A
210-436-3011 One Camino Santa Maria
San Antonio, TX 78228
This interactive lecture experience will use religious imagery presented in the movie Blue Beetle to discuss Matthew 5:39, “But I say to you, Do not resist the evildoer. But if anyone strikes you on the right cheek, turn the other also” (NRSV). Come prepared to listen to a short lecture, engage in an interactive exhibit, and contribute to a pastoral y teología de y en conjunto. Expect a few surprises and door prizes as well.
The Escobedo Saint John’s Bible Lecture Series allows St. Mary’s University to share the remarkable illuminated pages of the Saint John’s Bible currently on campus with members of the St. Mary’s community, and with faith communities from across Texas and the nation.
Neomi De Anda
Exec. Director, International Marian Research Institute
Tenured Associate Prof., Dept. of Religious Studies, University of Dayton
