When drawing comparison between Born in East L.A. and El Norte, one would eventually come to consider the two film’s separate heroes. On one side is Rudy, Cheech Marin’s “odd man out,” who maintains his sanity while marooned in Tijuana by instilling sarcasm and humor into all he experiences. Gregory Nava’s protagonist (for the sake of simplicity, we will consider the surviving protagonist Enrique and leave alone the interplay between him and his sister Rosa), on the other hand, suffers his qualms while maintaining a naïve optimism about his future. Yet what thematic similarities can be observed between the two?

Firstly, consider the fact that both Rudy and Enrique are estranged from their parent culture. In Enrique’s case, this is the traditional community left behind in Guatemala…in Rudy’s, an average American lifestyle in Los Angeles. This juxtaposition gives viewers the opportunity to evaluate the character’s setting and experience through “fresh” eyes. Both Nava and Marin seem to agree that this situation provides the best manner to portray the dismal and nearly “wild west” nature of the border town Tijuana, where both Rudy and Enrique spend an extended amount of time (though Rudy’s is much more prolonged). This similar method also denotes a similar message: the suffering, dangerous world of crooked guides (called “coyotes”) and sultry clubs contains a painful human element made all the more obvious to someone un-local and unaware.

Another similarity between the two protagonists is the integrity and resolve with which they accept the necessity of work. Rudy finds himself involved with a shady club owner, paid a meager wage for his work but nonetheless dependant on his trickling income. Enrique is similarly employed waiting tables at a fancy restaurant, recognized for his dedication and attitude but nonetheless shunned for his race. Yet the thematic similarities exist most strongly in what occurs during work for both protagonists. Rudy’s employer soon discovers the man’s ability as a musician and, eager to profit, promotes a show in which Rudy is the star. Enrique’s ability, similarly, gives him the opportunity for a promotion. Yet the exploitation of Rudy and the backstabbing of a coworker for Enrique ruins and muddies the “success” of the two characters. Both Nava and Marin may have employed these scenarios (though obviously in very different manners) to portray a common situation among both domestic Latino workers and those struggling for work as illegal immigrants. Often, the possibility for success for a Latino is made difficult by common biases and stereotypes in society. This leads to a dismal situation in which things could be “looking up” for a while, but then are suddenly shot down by either the revelation of one’s illegal status or the racism of managerial staff.