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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 notable 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 accept at the heart of the person who preceded the legend. The film is therefore difficult to think as pure cinema. Is this, on its absorb merits, a titanic film? Or is it a huge 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 leisurely in the film. Her reaction was enthralling. Until she realized that it was about Che, she says that she considered it a decent but only slightly above average “road” relate, but it gained considerably in her estimation once she realized who the film was about. I reflect 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 kindly film but of considerably less interest than it is.
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The film does a ample job of rooting Che’s eventual exertion with the liberation of the oppressed by depicting his stout and constant encounters with everyday people throughout the continent. Camus wrote that it was critical 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 squawk his vision. At the waste of the film it is easy to understand why Che chose a life dedicated to aiding the oppressed in Cuba and elsewhere. The large seek information from left unanswered, and the one reason one can net 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 valuable, the film doesn’t reach anywhere end to answering this ask.
In many ways, the star of the film is the South American continent. I have seen many films over the years status in one corner of the continent or another, but none provided a panoramic plan. 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 huge ravishing. I don’t judge it would be possible to peer 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 splendid, 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 conclude to an slay, his next several projects originating in Hollywood. Rodrigo De la Serna does not have the substantial charisma of Bernal, but he more than holds his possess in the film. The cast is rounded out by a titanic 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 reflect that it is a film that virtually every viewer will reply to with huge interest, and I defy anyone not to collect the great landscapes anything short of elegant.
When I visited South America on my believe extended amble 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 unbiased 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 glad to record the film surpasses my expectations on almost every level. It is splendid - 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 enthralling feeling in its portrait of a young man on the brink of his political awakening. It starts out somewhat deceptively as a laughable buddy relate 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 used 1939 Norton motorbike traversing South America from their native Buenos Aires to Caracas. It is positive what Alberto’s hormonally charged intentions are on this months-long lag, 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 launch their eyes to the poverty and aloof struggle of the local people in each of the countries they visit. The sage winds through cool Patagonia, the blistering Atacama Desert, the awe-inspiring Machu Picchu and several towns in between. But the most touching passage takes site 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 noteworthy scene among many in this subtly potent film.
As he proved with his unbelievable “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 paralyzed young man ready to acquire 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 proper is Rodrigo de la Serna in his feature film debut as Granado, effortlessly showing his character’s bravado and humor while finding his bear bumpy blueprint in the world. His reactions to his buddy’s political declaration at the birthday party, and to his absorb feelings during their goodbye at the ruin, are among the most poignant moments in the movie. In fact, great of the film’s power comes from their palpable chemistry and unforced rapport. They are instantly and completely believable as best friends. And remarkable 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 kill, and the coda with the valid Granado is intelligent. While this may be the most fine portrayal of a Communist-in-the-making since Warren Beatty’s film about John Reed, “Reds”, don’t let that close 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 essential but peaceful considerable 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 obliging, 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 fast interview with the film’s composer, Gustavo Santaolalla.
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