alan-saunders

A precious and humanitarian look at racism and oppression in New Mexico. Extremely moving feminist film against oppression and racism. It reveals the heart of American social justice and is an extremely poignant example of the greatness that Hollywood might have achieved in cinematic art before it became trampled under glitter, triviality and celebrity. A truly dazzling example of American film art and the soul of America that might have been.

Ever been a tourist and thought of just staying where you are? This moody and reflective movie by Swiss director Alain Tanner captures this feeling for us all enticingly. The film has not had the showings it conspicuously deserves. It draws us in to contemplate what might happen if we simply stopped doing what we've always just done? And the haunting sense of authenticity is heightened using cuts of super-8 movie clips (as representations of a filmic mimicry of the pulse, taste and feel of life as it is lived on the edge).

Bruno Ganz (long before his Hitler portrayal) simply gets of the boat on which he was an engineer and loses himself and us in the sounds and sights of a foreign land. Lisbon evocatively unfurls before us in realistically plausible super-8 snatches as Ganz's character becomes enveloped in the flavour and mystery of a poor quarter of the city. Hopelessly drunk and plaintively playing his harmonica through the minutes and hours spent in his hotel room commanded by its dripping tap, the character posts film home to his wife in clinical Switzerland. Time and place are punctuated by escapes into drink, romance whilst the character clutches at every moment's freshness and tracing the lines of a web of ordinariness which is so easy to experience voyeuristically.The clock in the hotel symbolically goes backwards. Maybe there are times when perhaps we need to go back in order to move forward.

The young medical student, Che Guevara and his irrepressible biochemist friend do the latino tour. The journey on motorbike and foot through South America is based on diaries and a book.

The harshness of inequality and oppression and a leper colony are deftly muted by the constant comedy of De la Senna's infinitely optimistic Granado and the awe inspiring photography - both moving and still. Those seeking an understanding of Che's early years will be disappointed. Although, with its combination of plausible characterisations and visual images (which sometimes put National Geographic to shame), this is a Latino road movie with a heart and soul.

Salles' editing of black and white stills to convey the magic and pain of those situated along the route are exquisitely accompanied by scintillating percussion - used as a prime mechanism for conveying political images and poignancy. In contrast, the script is generally light and easy and fails to provide much substance for the formation of 'Fuser's later political awareness. The leper colony scenes only convey a sense of his warmth and opposition to barriers. Similarly Che's only speech is a brief treatise on South American unity.

The movie had the audience I was with smiling and convulsively laughing with human warmth throughout most of its length. Some of the scenes are unforgettable. The backing of Robert Redford and the curious fusion of Brazilian talent result in an accessible if lightweight movie which remains contagiously enjoyable, heartwarming and occasionally moving. Perhaps a little more appropriate darkness and substance with less superficial humour might have conveyed a more significant set of memories.