Comedian, actor, and activist Cheech Marin asserts that he doesn't conform to rules governing his life. However, for his latest role in "The Long Game," a film portraying the triumph of five Mexican American teenagers who clinched the Texas high school golf championship in 1957 amidst prevalent racism, Marin drew inspiration from the principles that shaped his father's life.
"My father came back from World War II with a solid foundation – the Navy had instilled a clear set of rules that guided him," Marin explained. "These rules served him well in the military, but upon discharge, he faced a harsh reality - prejudice limited his employment opportunities."
"Finding security in a structured environment, he chose a career as a police officer," Marin continued. "The established procedures and regulations offered a sense of safety in a world that often felt hostile."
The movie "The Long Game" tells the real-life story of J.B. Peña (played by actor Jay Hernandez), a World War II veteran and school district superintendent who’s rejected from membership at the whites-only San Felipe Country Club in Del Rio, Texas, because he's Mexican American. He goes on, however, to form a high school golf team, the Mustangs, for the Mexican American teens who were caddies at the whites-only club and had fallen in love with the sport. The golf team went on to win the high school championship.
Cheech Marin portrays Pollo, a groundskeeper at the country club who, like Peña, faces racial barriers to membership. Throughout the film, viewers see Marin's character wearing a large cage to shield himself from errant golf balls. While it might appear comedic, Marin explains the deeper meaning: the cage symbolizes the "shell shock" or emotional scars carried by veterans like his father and other Mexican Americans returning to civilian life.
"This cage represents a form of armor," Marin reflects on his character. "It's a protective shell worn by many who return from war, burdened by the trauma of their experiences."
In the film, Pollo shares a pivotal moment with Peña. He recounts how, during WWI trenches, the military failed to provide him with a gas mask. Yet, as the saying goes in golf, you must "play the ball where it lies" – you adapt to the circumstances. Similarly, Pollo must navigate life's harsh realities, not only the lingering effects of mustard gas but also his own sense of alienation.
"He's become a stranger in his hometown," Marin explains, delving into his character's struggles. "The trauma he endured affects his perception of the world, prompting him to withdraw, but also to occasionally emerge."
Marin sees "The Long Game" as a story about acceptance. The victory of the five Mexican American teenagers is a powerful symbol of earning the respect that had been denied.
"In their first year, they defied all odds and won the state championship on the very course they were barred from playing on," Marin says. "This victory becomes a tangible symbol of change taking root."
Beyond the film, audiences know Marin as a counterculture icon. He's one half of the legendary comedic duo Cheech and Chong, and his filmography boasts classics like "Up in Smoke" (1978) and "Born in East L.A." (1987), along with his role on the TV series "Nash Bridges."
Reflecting on his career fueled by classic comedies and shows, Cheech Marin acknowledges the significant increase in Latino representation on screen today.
"Television is now saturated with Latino characters across various programs," he observes. "Even music boasts some of the biggest Latino stars. While tremendous progress has been made, there's still room for further advancement."
Marin has been a vocal advocate for greater visibility and inclusion within the arts. A dedicated patron and collector, particularly of Chicano art, he collaborated with the Riverside Art Museum and the city of Riverside in 2022 to establish a permanent museum space dedicated to Chicano art. The museum has garnered acclaim for its focus on U.S. Latino art.
Marin believes true mainstream acceptance for Hispanics goes beyond television screens. "A community hasn't truly arrived until it has its own museum," he contends. "During the museum's conception, someone in the art world remarked, 'We'll revisit your progress in 20 years – that's the minimum investment to achieve official recognition.' If living to see that day is what it takes, then so be it!"