It is actor Óscar Jaenada’s noteworthy performance as comedian-actor Mario Moreno that brings to life the beautiful biopic film “Cantinflas,” and it is this performance alone that gives the film its undeniable glory.

Jaenada’s performance is an entertaining, quick-witted and zealous force that is competent enough to pay homage, respectably, to the man behind Mexico’s most famous and beloved comedian of all time.

“Cantinflas,” directed by Sebastian del Amo, is the story of the man behind Cantinflas, Mario Moreno. His story is entangled with the story of Mike Todd’s struggle to cast the actor and ultimately successfully produce the 1956 epic film adaptation of Jules Verne’s adventure novel “Around the World in 80 Days.”

Though the story of “Cantinflas” is what leads to the story of the success of the film in a nonlinear narrative, it is the latter that gives the film its momentum but also what, at times, distracts and detracts from the story of Moreno’s personal struggle to remain true to himself, his wife and those who most loved him, causing his story to remain a little astray.

Still, Jaenada’s portrayal of “Cantinflas” was strong enough to be the most dominant story and rightly so.

Jaenada’s presence on the screen as the character Cantinflas is incredibly precise. Like the replication of a painting one person would find worthy enough to steal, and another worthy enough to purchase.

From top to bottom, the image held some truth. Becoming Cantinflas must have undoubtedly required a lot of practice and I can’t imagine Jaenada taking on this role without much dedication to a full-length mirror.

Opposite Jaenada starred Michael Imperioli, who took on the role of producer Mike Todd. In comparison, Imperioli was not as convincing and unfortunately something as petty as his hairstyle had much to do with it. Its stiff presence hovered in all of Imperioli’s scenes and oftentimes I was horribly distracted by it.

The characters who provided far more substance and whom I wanted to see more of were Moreno’s wife Valentina Ivanova, played by Ilse Salas, and the man who helped launch Moreno’s career as Cantinflas, his brother in law Estanislao Shilinsky, played exquisitely by Luis Gerardo Méndez.

Salas’s role in the film lacked character development and the more dramatic scenes in the film she took part in felt more like teasing displays of great depth and emotion. I wanted more of her but was allowed very little.

Méndez’s role, on the contrary, was one that I felt was substantial, but we lose his character along the way. Only to find him later, and with a conflict at hand. It is unclear where the relationship between Shilinsky and Moreno specifically went wrong and I felt it was unjust to dismiss Shilinsky midway only to bring him back again and without much context.

The film itself held a classic look and feel to it. Like “Around the World in 80 Days,” “Cantinflas” held a series of prominent cameos. It was a delight to see actors such as Dagoberto Gama and Ana Layevska take part in a film with historical content.

I felt very honored to watch the film and it gave me much pleasure to hear the laughter that was induced by the others in attendance. After all, as the story goes, Moreno’s Cantinflas was made for the simple purpose of making the crowd laugh and Jaenada’s portrayal was just as successful.