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Dimanche, septembre 26th, 2010
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As most potential viewers know, this film is based on diaries and letters to home written by Ernesto “Che” Guevara during a motorcycle and foot tour of a famous allotment of South America during the early 1950s, years before Guevara achieved international renown as a Communist and Latino revolutionary. Thus, the film functions as an attempt to collect at the heart of the person who preceded the epic. The film is therefore difficult to consider as pure cinema. Is this, on its maintain merits, a vast film? Or is it a gargantuan film about Che Guevara? Interestingly, the person I saw this film with knew absolutely nothing about the subject of the film before it started, and did not connect Ernesto Guevara with Che Guevara until very slack in the film. Her reaction was piquant. Until she realized that it was about Che, she says that she considered it a decent but only slightly above average “road” record, but it gained considerably in her estimation once she realized who the film was about. I judge she was moral, and I would agree with those who feel that what merits the film has depends to some degree on who the film is about. If Ernesto hadn’t become Che, it would be a safe film but of considerably less interest than it is.
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The film does a friendly job of rooting Che’s eventual disaster with the liberation of the oppressed by depicting his tall and constant encounters with everyday people throughout the continent. Camus wrote that it was indispensable to side with the victims and not the executioners, and in his travels Ernesto spends most of his time with the victims. His near-epic exposure to the continent clearly condition his sympathies and declare his vision. At the extinguish of the film it is easy to understand why Che chose a life dedicated to aiding the oppressed in Cuba and elsewhere. The astronomical quiz left unanswered, and the one reason one can regain Che’s life morally troubling, is why he felt that the causes he espoused demanded a violent, military response. Why follow in the steps of Trotsky and Lenin rather than Gandhi? Apart from a single line which merely hints that Che felt violence might be indispensable, the film doesn’t advance anywhere finish to answering this inquire of.
In many ways, the star of the film is the South American continent. I have seen many films over the years situation in one corner of the continent or another, but none provided a panoramic thought. This film, however, by swinging through Argentina, Chile, Peru, Columbia, and Venezuela provides a graphic impression of the continent’s titanic geographical diversity, expanse, and gargantuan glowing. I don’t consider it would be possible to notice this film without a deep bustle to visit the land. The scene shot in Machu Picchu reveals the astounding beauty of the place better than anything else I have ever seen.
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Gael Garcia Bernal is a remarkably beautiful, talented young actor, formerly best known for one of the two young men in Y TU MAMA TAMBIEN, and is outstanding in portraying the young Che Guevara. One suspects that his days as an actor in primarily Latin productions is halt to an extinguish, his next several projects originating in Hollywood. Rodrigo De la Serna does not have the mammoth charisma of Bernal, but he more than holds his hold in the film. The cast is rounded out by a tall roster of professional and amateur performers.
Che Guevara is such a controversial figure that this film could elicit a host of differing responses. How one will answer to this film will be deeply conditioned by how one views him. But I do judge that it is a film that virtually every viewer will acknowledge to with mammoth interest, and I defy anyone not to net the worthy landscapes anything short of splendid.
When I visited South America on my fill extended traipse a couple of years ago, I was amazed how many times I saw pictures of Che Guevara everywhere I went….cafes, outdoor bulletin boards, art galleries, even department stores. Now I understand why. Having unprejudiced read his diary, I was greatly anticipating this film, and my interest only heightened when I started seeing the travelogue shots in the previews. I am gay to recount the film surpasses my expectations on almost every level. It is aesthetic - perceptively directed, beautifully photographed and wondrously acted by a cast headed by two charismatic actors who tap deep into the hearts and souls of their characters. Whereas the book is more observational, the movie provides a more enchanting feeling in its portrait of a young man on the brink of his political awakening. It starts out somewhat deceptively as a comical buddy recount with the young Ernesto Guevara (pre-Che), a medical student, leaving his family and accompanying his seemingly more worldly pal Alberto Granado, a biochemist, on a feeble 1939 Norton motorbike traversing South America from their native Buenos Aires to Caracas. It is definite what Alberto’s hormonally charged intentions are on this months-long coast, but at 23, Ernesto is at a more sensitive juncture in his life where his encounters and observations have a deeper impact on his ideology.
What I really like about the film is how it changes in tone and texture as the boys’ hunt for adventure evolves into life-changing experiences for both of them. The motorbike acts as a metaphor for this change, as it unsurprisingly breaks down forcing them to begin their eyes to the poverty and composed struggle of the local people in each of the countries they visit. The account winds through frigid Patagonia, the blistering Atacama Desert, the awe-inspiring Machu Picchu and several towns in between. But the most touching passage takes status at the San Pablo leper colony in the Peruvian Amazon basin, where Ernesto bonds deeply with the lepers to the chagrin of the local nuns. His night swim across the Amazon, struggling for air through his asthma, is a much scene among many in this subtly potent film.
As he proved with his incredible “Central Location”, director Walter Salles has an acute ability to connect his characters to their settings in deeply emotional ways. He is the ideal choice to guide this road movie. As Guevara, Gael Garcia Bernal transcends his Tiger Beat, teen heartthrob looks and delivers a deeply touching performance, as he grows from a substantial city innocent to a skittish young man ready to purchase on a greater cause than his medical career. He does an especially strong job in conveying his character’s unblinking honesty and displaying unexpected acts of rage and compassion. Unprejudiced as ample is Rodrigo de la Serna in his feature film debut as Granado, effortlessly showing his character’s bravado and humor while finding his absorb bumpy scheme in the world. His reactions to his buddy’s political declaration at the birthday party, and to his occupy feelings during their goodbye at the extinguish, are among the most poignant moments in the movie. In fact, worthy of the film’s power comes from their palpable chemistry and unforced rapport. They are instantly and completely believable as best friends. And powerful more than the book, the film builds a solid emotional bridge between the young innocent and the Communist revolutionary Guevara was to become. If you are not aware of his fate, it is briefly summarized in subtitles at the ruin, and the coda with the staunch Granado is curious. While this may be the most pretty portrayal of a Communist-in-the-making since Warren Beatty’s film about John Reed, “Reds”, don’t let that discontinuance you from seeing this mesmerizing work. This is a wonderfully heartfelt film.
**ADDENDUM ABOUT THE DVD RELEASE POSTED ON FEBRUARY 18, 2005**
There are three extended deleted scenes included in the DVD package, none significant but smooth critical for the additional context they provide to an essentially episodic movie. I particularly liked the sequence with the blind truck driver risking the lives of the two vagabonds as he swerves perilously on a treacherous mountain road. The obligatory making-of documentary is superior, and includes comments from Salles, screenwriter Jose Rivera and executive producer Robert Redford. There are also a couple of brief Spanish-language TV interviews with Bernal and a rapidly interview with the film’s composer, Gustavo Santaolalla.
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