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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 critical part 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 tale. The film is therefore difficult to think as pure cinema. Is this, on its acquire merits, a gargantuan 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 behind in the film. Her reaction was consuming. Until she realized that it was about Che, she says that she considered it a decent but only slightly above average “road” recount, but it gained considerably in her estimation once she realized who the film was about. I consider she was right, 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 suitable film but of considerably less interest than it is.
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The film does a superb job of rooting Che’s eventual anguish with the liberation of the oppressed by depicting his expansive and constant encounters with everyday people throughout the continent. Camus wrote that it was vital 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 narrate his vision. At the slay of the film it is easy to understand why Che chose a life dedicated to aiding the oppressed in Cuba and elsewhere. The gigantic seek information from left unanswered, and the one reason one can come by 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 famous, the film doesn’t approach anywhere cessation 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 station in one corner of the continent or another, but none provided a panoramic belief. This film, however, by swinging through Argentina, Chile, Peru, Columbia, and Venezuela provides a graphic impression of the continent’s big geographical diversity, expanse, and vast graceful. I don’t deem it would be possible to observe this film without a deep run to visit the land. The scene shot in Machu Picchu reveals the astonishing beauty of the situation better than anything else I have ever seen.
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Gael Garcia Bernal is a remarkably ravishing, 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 end to an ruin, his next several projects originating in Hollywood. Rodrigo De la Serna does not have the spacious charisma of Bernal, but he more than holds his contain in the film. The cast is rounded out by a huge 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 retort to this film will be deeply conditioned by how one views him. But I do believe that it is a film that virtually every viewer will acknowledge to with big interest, and I defy anyone not to derive the great landscapes anything short of graceful.
When I visited South America on my fill extended wander 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 honest 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 cheerful to record the film surpasses my expectations on almost every level. It is magnificent - 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 consuming feeling in its portrait of a young man on the brink of his political awakening. It starts out somewhat deceptively as a comical buddy characterize 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 obsolete 1939 Norton motorbike traversing South America from their native Buenos Aires to Caracas. It is sure what Alberto’s hormonally charged intentions are on this months-long bound, 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 still struggle of the local people in each of the countries they visit. The record winds through cool Patagonia, the blistering Atacama Desert, the awe-inspiring Machu Picchu and several towns in between. But the most touching passage takes set 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 distinguished scene among many in this subtly potent film.
As he proved with his astonishing “Central Region”, 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 huge city innocent to a stunned young man ready to assume 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 superb is Rodrigo de la Serna in his feature film debut as Granado, effortlessly showing his character’s bravado and humor while finding his acquire bumpy contrivance in the world. His reactions to his buddy’s political declaration at the birthday party, and to his acquire feelings during their goodbye at the destroy, are among the most poignant moments in the movie. In fact, distinguished of the film’s power comes from their palpable chemistry and unforced rapport. They are instantly and completely believable as best friends. And mighty 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 accurate Granado is arresting. While this may be the most dazzling portrayal of a Communist-in-the-making since Warren Beatty’s film about John Reed, “Reds”, don’t let that conclude 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 critical but detached primary 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 noble, 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 speedy interview with the film’s composer, Gustavo Santaolalla.
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