Che: Part One

What on earth was director Steven Soderbergh thinking when he decided to tackle the story of Ernesto 'Che' Guevara, the Argentinian born doctor and revolutionary who joined Fidel Castro's campaign to take Cuba back from the American backed dictator, Fulgencio Batista? What motivated the director of Oceans Eleven,Twelve and Thirteen… to make this amazing 4½ hour biopic. Why Che Guevara, and why now? How did he even manage to get the funding for a film about a communist revolutionary in the first place? What was the pitch? Not that there is anything wrong with the film. Far from it. Soderberg tells Guevara's story with loving attention to detail, and without resorting to sentimentality or melodrama.

This is not the first time Che's story has been turned into a movie. The 2004 film, The Motorcycle Diaries, examines the formation of Guevara's early politicization, and … But Soderberg's film (with Benicio Del Toro in the lead role as Che Guevara), is the first to try and tell the whole story of Guevara's involvement in the Cuban revolution, and his subsequent attempt to spread the revolution to Boliva, where he was eventually caught and killed in October 1967.

Part 1, deals with the fight against Batista. The long hard slog of waging a guerrilla campaign is covered in great detail as a boatload of 82 revolutionaries head for Cuba during November 1956, and the struggle to win Cuba back for the Cuban people begins.

The first film draws extensively on the Guevara's own writings, especially his memoir "Reminiscences of the Cuban Revolutionary War". The months and years of protracted guerrilla warfare are inter-cut with beautifully recreated scenes showing Che addressing the United Nations in 1964, and conducting numerous interviews with a range of media outlets.

Soderberg uses these scenes to explain some of the history and 'back story' to the Cuban revolution, and to give the audience some insight into Che Guevara – the man and revolutionary. Part 1 of Che ends in 1959 as Batista flies into exile in the United States, and the revolutionaries under the leadership of Fidel Castro and Che Guevara are about to enter Havana.

Drawing on Guevara's 'Bolivian Diary', Part 2 of Che takes up the story as Che, going under the pseudonym of 'Ramon', lands in Boliva in 1965, and begins trying to recruit local guerrilla's with the intention of overthrowing the ruling government.

Here, his campaign to recruit local peasant farmers fails, and before he and his small band of revolutionaries are able to launch any sort of major anti government attack, they are hunted down and killed with the help of the Central Intelligence Agency.

Che Guevara was wounded and captured on or about October 9, 1967. It is a matter of record that he was alive at the time of his capture, and that he was subsequently shot and killed to ensure he would no longer be able to foment revolution either in Boliva or elsewhere in Latin America. How ironic then that his execution has sparked a 'cult of the revolutionary' that has not diminished over the intervening 40 plus years since his death.

Of course, apart from the Oceans… series of films, Soderberg has shown he is socially aware by also directing Erin Brockovich, Traffic (again with Del Toro), and The Good German, so maybe we shouldn't be surprised that he decided to tackle the story of Ernesto 'Che' Guevara.

Don't be fooled by the inclusion of other A-list cast members (Julia Ormond, Matt Damon, Franka Potente, and Lou Diamond Phillips) in Che. All of these actors have minor roles, and small support parts. In fact Matt Damon is on screen for less than two minutes! I can only assume that Soderberg needed some additional well known actors to help secure finance and distribution for the film.

However, this is without a doubt Benicio Del Toros' film. His performance is a revelation. He inhabits the role of Guevara so well, that there are times when I wasn't sure if the historical footage – recreated in black and white – didn't have the real Che Guevara in them.

According to the program notes, Soderberg is working an a middle part to Che's story. This film will apparently cover Guevara's experiences in Africa. If this is the case, then this trilogy will indeed constitute Steven Soderberg's masterpiece. I can think of no other biopic to rival it, and the finished series should help to keep the legend of 'Che' Guevara alive for at least another 40 years.

Che: Part One felt very complete and fulfilling. I found myself looking at Ernesto "Che" Guevara as a very well rounded person. Not as an ideological self fulfilling man but as an articulate man with thought out rational decisions as well as a man with many useful talents.

The acting of the cast all around was very good but Benicio Del Toro took the movie by storm but he did this in a very subtle way. His performance displayed how Che's spirit was able to superseded the hardships faced in the Cuban Revolution. It did not display any brutality or recklessness but a devotion to a cause. Del Toro's perforations was that worthy of an Oscar nomination but I don't think Che Guervara cared to much about awards.

The directing by Steven Soderbergh was visually stunning at times with much of the scenes shot in the forest. What kept the movie upbeat though were the scenes of Che in New York giving interviews and addressing the U.N. It added an extra layer to the film allowing you to see another side of Che. The side in which he shows his political and speaking abilities. The writing was very good with the dialog always keeping you engrossed. The music, though not much of it, was very good and stayed within rhythm of the rest of the film.

Overall the film succeeds in showing Che as a well rounded man never developing into oversimplified or unnecessarily complex portrayal of a man. The movie was very accurate and refused to take on a role of being inspiring or Hollywoodish which I enjoyed. The only problem with the film I had was that it seems to have a little too much of a feel of a war film rather than a biopic. Still I highly recommend this film.

It helps to know that this was originally brought to life as a Terrence Malick screenplay about Che's disastrous forray in Bolivia. Financing fell through and Soderbergh stepped in to direct. He conceived a first part and shot both back to back as one film trailing Che's rise and fall.

He retained however what I believe would be Malick's approach: no politics and a just visual poem about the man behind the image, exhaustive as the horrible slog through Cuban jungles and windswept Andean plateaus must have been. Malick applied this to his New World that he abandoned Che for, lyrical many times over.

But Soderbergh being an ambitious filmmaker, he puzzled over this a little more. Here was a man of action at the center of many narratives about him, some fashioned by himself, conflictingly reported as iconic revolutionary or terrorist, charismatic leader or ruthless thug, erudite Marxist thinker or brutal soldier.

So how to visually exemplify this contradicting ethos as our film about him? And how to arrange a world around this person in such a way as to absorb him whole, unfettered from narrative - but writing it as he goes along - off camera - but ironically on - and as part of that world where narratives are devised to explain him. As flesh and bones, opposed to a cutout from a history book.

One way to do this, would be via Brecht and artifice. The Korda photograph would reveal lots, how we know people from images, how we build narratives from them. Eisenstein sought the same in a deeper way, coming up with what he termed the 'dialectical montage': a world assembled by the eye, and in such ways as the eye aspires to create it.

So what Soderbergh does, is everything by halves: a dialectic between two films trailing opposite sides of struggle, glory and failure, optimism and despair. Two visual palettes, two points of view in the first film, one in the presence of cameras hoping to capture the real person, the other were that image was being forged in action.

The problem, is of course that Brecht and Eisenstein made art in the hope to change the world, to awaken consciousness, Marxist art with its trappings. By now we have grown disillusioned with the idea, and Soderbergh makes no case and addresses no present struggles.

But we still have the cinematic essay about all this.

The first part: a narrative broadcast from real life, meant to reveal purpose, ends, revolution. The second part: we get to note in passing a life that is infinitely more expansive than any story would explain, more complex, beautiful, frustrating, and devoid of any apparent purpose other than what we choose as our struggle, truly a guerilla life.

I imagine a tremendous film from these notions. Just notice the remarkable way Part 2 opens. Che arrives at Bolivia in disguise, having shed self and popular image. No longer minister, spokesman, diplomat, guerilla, he is an ordinary man lying on a hotel bed, one among many tourists. Life could be anything once more, holds endless possibility. Cessation.

What does he do? He begins to fashion the same narrative as before, revolution again. Chimera this time. Transient life foils him in Bolivia. Instead of changing the world once more, he leaves behind a story of dying for it. We have a story about it as our film, adding to the rest.

Ironically the most talked-about American film in the 2008 New York Film Festival is 98% in Spanish. The extra-long film's controversy began at the Cannes Festival. There were love-hate notices, and considerable doubts about commercial prospects. As consolation the star, Benicio Del Toro, got the Best Actor award there. I'm talking about Steven Soderbergh's 'Che,' of course. That's the name it's going by in this version, shown in New York as at Cannes in two 2-hour-plus segments without opening title or end credits. 'Che' is certainly appropriate since Ernesto "Che" Guevara is in almost every scene. Del Toro is impressive, hanging in reliably through thick and thin, from days of glorious victory in part one to months of humiliating defeat in part two, appealing and simpatico in all his varied manifestations, even disguised as a bald graying man to sneak into Bolivia. It's a terrific performance; one wishes it had a better setting.

If you are patient enough to sit through the over four hours, with an intermission between the two sections, there are rewards. There's an authentic feel throughout--fortunately Soderbergh made the decision to film in Spanish (though some of the actors, oddly enough in the English segments especially, are wooden). You get a good outline of what guerrilla warfare, Che style, was like: the teaching, the recruitment of campesinos, the morality, the discipline, the hardship, and the fighting--as well as Che's gradual morphing from company doctor to full-fledged military leader. Use of a new 9-pound 35 mm-quality RED "digital high performance cine camera" that just became available in time for filming enabled DP Peter Andrews and his crew to produce images that are a bit cold, but at times still sing, and are always sharp and smooth.

The film is in two parts--Soderbergh is calling them two "films," and the plan is to release them commercially as such. First is The Argentine, depicting Che's leadership in jungle and town fighting that led up to the fall of Havana in the late 50's, and the second is Guerrilla, and concerns Che's failed effort nearly a decade later in Bolivia to spearhead a revolution, a fruitful mission that led to Guevara's capture and execution in 1967. The second part was to have been the original film and was written first and, I think, shot first. Producer Laura Bickford says that part two is more of a thriller, while part one is more of an action film with big battle scenes. Yes, but both parts have a lot in common--too much--since both spend a large part of their time following the guerrillas through rough country. Guerrilla an unmitigated downer since the Bolivian revolt was doomed from the start. The group of Cubans who tried to lead it didn't get a friendly reception from the Bolivian campesinos, who suspected foreigners, and thought of the Cuban communists as godless rapists. There is a third part, a kind of celebratory black and white interval made up of Che's speech at the United Nations in 1964 and interviews with him at that time, but that is inter-cut in the first segment. The first part also has Fidel and is considerably more upbeat, leading as it does to the victory in Santa Clara in 1959 that led to the fall of the dictatorship of Fulgencio Batista in Cuba.

During 'Guerilla' I kept thinking how this could indeed work as a quality European-style miniseries, which might begin with a shortened version of Walter Salles's 'Motorcycle Diaries' and go on to take us to Guevara's fateful meeting with Fidel in Mexico and enlistment in the 26th of July Movement. There could be much more about his extensive travels and diplomatic missions. This is far from a complete picture of the man, his childhood interest in chess, his lifelong interest in poetry, the books he wrote; even his international fame is only touched on. And what about his harsh, cruel side? Really what Soderbergh is most interested in isn't Che, but revolution, and guerrilla warfare. The lasting impression that the 4+ hours leave is of slogging through woods and jungle with wounded and sick men and women and idealistic dedication to a the cause of ending the tyranny of the rich. Someone mentioned being reminded of Terrence Malick's 'The Tin Red Line,' and yes, the meandering, episodic battle approach is similar; but 'The Thin Red Line' has stronger characters (hardly anybody emerges forcefully besides Che), and it's a really good film. This is an impressive, but unfinished and ill-fated, effort.

This 8-years-gestating, heavily researched labor of love (how many more Ocean's must come to pay for it?) is a vanity project, too long for a regular theatrical release and too short for a miniseries. Radical editing--or major expansion--would have made it into something more successful, and as it is it's a long slog, especially in the second half.

It's clear that this slogging could have been trimmed down, though it's not so clear what form the resulting film would have taken--but with a little bit of luck it might have been quite a good one.

Nothing quite like getting your teeth into an epic is there? Sitting back and letting yourself get immersed into a struggle, a journey, in this case the Cuban revolution that has become such a cause celebre for many since the 1950s. By the time I left the cinema I sadly felt as though the epic had been squashed down into an easily swallowed period piece with all the epic grandeur of a Dan Brown novel. The problem with Che Part One is that it doesn't say anything particularly interesting or contain any memorable moments. There is lots and lots of shooting which is actually fairly sanitised (this is certainly no Saving Private Ryan), there is some mistreatment of people who are then avenged and there are lots of shots of Benicio del Toro looking quite idealistic and cool.

Don't get me wrong, there is nothing specifically wrong with this film. It portrays a fairly accurate (if, as I said, sanitised) picture of the March on Santa Clara and the victory of Castro's rebels. However much in the same way as the kind of perpetually running museum film that you can dip in and out of it is largely uninspiring and leaves you feeling quite detached. The problem is not the direction or the acting which does manage to transport you into the heart of a Civil War ravaged Cuba. It is the fact that we learn next to nothing about Cuba, Che himself or the goals of the revolutionaries. We learn nothing of why the Batista regime was so bad that people wanted to overthrow it. Which means that this simply stands alone as a war film where there are lots of explosions, lots of running around and some scenes of people celebrating in the streets. While I understand from reports that Che Part Two is rather different I think that nevertheless the slight blandness of Che Part One means that, though it looks good, it does feel like a rather wasted opportunity.