By Santiago Navajas
LiberPress Libertad Digital-October-2008 - At the beginning of shooting his wallet on the Marxist-Maoist terrorist Ernesto Che Guevara, the U.S. director Steven Soderbergh met the players and told them they were going to make a film about "the last idealist." The story reveals the conceptual confusion that hampers cinematically this project to light the revolutionary life of the asthmatic Argentine doctor who smoked Cuban cigars.
Che was just released, Argentina, the second part-Guerrilla-designed plans in early 2009. From what we can be sure of is that Soderbergh is not as idealistic as his admired and mythologized character. When asked why he has not released the film in its original format, as has been shown in various festivals, replied as follows:
People do not have time to spend an afternoon in cinema (...) As an exercise capitalist, I think it will find its audience (...) From a strictly business sense, what we have here is a movie with a perfect record: who does not know Che? The film tries to unveil the mystery of the origin of the myth.
If you stick to your statement of intent, the film is a success as a capitalist engine (in its first week was the biggest box office) and a failure as an artistic experience. Shallow and clumsy, dull drowned in bombast, manipulative in its pedagogism regurgitated through 140 minutes Soderbergh manages to portray only claw and fairness to ... Fidel Castro!, Interpreted Demian Bichir brash and cheerful. No wonder that the Cuban authorities have warned that the film may be censored in the next Festival of Havana.
The Argentine begins with dinner at an apartment where several plotters are meeting against the Batista dictatorship, among whom is Ernesto Guevara. Some tremendous blows in the gate they all fear the arrival of the police. But it is only Fidel Castro, who with his usual energy during the meeting monopolize revolutionary talk, peppered with statistics on poverty and militaristic slogans. Later, alone, Castro and Guevara sealed an alliance based on insanity.
The rest of the film takes place in Sierra Maestra, in the guerrilla warfare against the Cuban army, in which Soderbergh surrenders to the mythical image of Che emblazoned on T-shirts and thongs, tattoos, coasters, charismatic, tough and rebellious. The standard picture of Hollywood cinema when it comes to jungle music combined with the use epic poetry composed by the increasingly impersonal Alberto Iglesias. The counterpoint of Che sweaty, asthmatic and reckless in the trenches of Caribbean luxury apartments located in New York where the radical-chic homage to the noble savage, Third underworld come to speak to the UN on behalf of Cuba, when he threw that famous and terrible speech in which he threatened to export the Revolutionary War to the American continent.
This is the most indecent of the film, when we wonder if Soderbergh is just a naive that you have read all the books on Che not understand all, or is a cynic who knew the film's success depended on a calculated ambiguity . How to get the recognition that Che Castro's revolution has been slammed against the killing as a revolutionary medium is admitted with acquiescence by the viewer? For showing, before Guevara proud to proclaim the ambassadors: "Executions, yes, we shot, shoot them and continue by shooting as long as necessary "showing, say, a run with the staff to be emotionally based, the two defectors from Castro's troops had been engaged in robbing the peasants and raping their wives and daughters. A good example of Mounting misuses dialectical.
course, since Soderberg sees his film as a weapon of mass disinformation, the end shows a triumphant Che harassment in the city of Santa Clara, but for a moment see him fulfilling its bureaucratic butcher at La Cabana.
Soderberg wanted to exculpate the Che, "understand", referring to the context. It has come to say he was the reincarnation of Washington, Jefferson and Adams together. To do so has had to despise and demonize opponents fighting the Batista dictatorship through nonviolent means and those who wanted the defeat of the dictatorship to establish in its place a liberal democracy. Ernesto Guevara, as good Marxist, I hated even more to these little bourgeois Batista. Also, following the script Guevara, the opposition leaders are portrayed as corrupt "negotiators", so distant from the pure, unsullied Argentina.
Of course, Che had nothing to do with the American liberators, and would look for a historical parallel rather than referring to virtue paranoid and murderous fury of the revolutionary Robespierre and Saint-Just. A Guevara can be applied perfectly wise and devoted tremendous Hegel analyzes the French Jacobins, Robespierre
The response was everything was ready for: la mort! Uniformity is supremely dull, but applies to all (...) I can kill all things, to disregard it. Thus, conceit itself is irresistible and can overcome anything. But the supreme, the highest to be overcome would be precisely this freedom, the death itself.
is now better understood the trap of the film's promotional statement: "A true revolutionary is guided by great feelings of love, love of humanity, truth and justice." And that is the great paradox, that Soderbergh is not even to touch, is that love for humanity in the abstract, is compatible with the hatred of every man, in particular. A paradox that ended devouring Ernesto Guevara, one of the most important American of the twentieth century for Soderbergh and the President of Argentina. So they are doing. Comment
Soderbergh its aim is that the girl he saw once in Manhattan with Che's face tattooed on his ass know better the man behind the mask commodified. I'm afraid the girl will continue to belong to the club of big ignorant who admire Guevara, and from Maradona belonging to the director of Le Monde Diplomatique, to Mike Tyson. As for those who I truly know, for example, the terrorist Iñaki Bilbao, who wore a shirt with his likeness on the day he threatened a judge of the Audiencia Nacional with seven shots-hit, it will seem insufferably shallow, exhibiting a decaffeinated Che ideologically Cuban version of Captain America. The rest, who only seek a good movie, I forecast a looong and boring afternoon.
CHE: EL ARGENTINO (US-Spain, 2008, 140 minutes). Director: Steven Soderbergh. Screenplay: Petr Buchman. Music: Alberto Iglesias. Cast: Benicio Del Toro, Demian Bichir, Elvira Mínguez, Jorge Perugorria, Eduard Fernández, Oscar Jaenada, Carlos Bardem. Rating: Endless (5 / 10).
LiberPress Libertad Digital-October-2008 - At the beginning of shooting his wallet on the Marxist-Maoist terrorist Ernesto Che Guevara, the U.S. director Steven Soderbergh met the players and told them they were going to make a film about "the last idealist." The story reveals the conceptual confusion that hampers cinematically this project to light the revolutionary life of the asthmatic Argentine doctor who smoked Cuban cigars.
Che was just released, Argentina, the second part-Guerrilla-designed plans in early 2009. From what we can be sure of is that Soderbergh is not as idealistic as his admired and mythologized character. When asked why he has not released the film in its original format, as has been shown in various festivals, replied as follows:
People do not have time to spend an afternoon in cinema (...) As an exercise capitalist, I think it will find its audience (...) From a strictly business sense, what we have here is a movie with a perfect record: who does not know Che? The film tries to unveil the mystery of the origin of the myth.
If you stick to your statement of intent, the film is a success as a capitalist engine (in its first week was the biggest box office) and a failure as an artistic experience. Shallow and clumsy, dull drowned in bombast, manipulative in its pedagogism regurgitated through 140 minutes Soderbergh manages to portray only claw and fairness to ... Fidel Castro!, Interpreted Demian Bichir brash and cheerful. No wonder that the Cuban authorities have warned that the film may be censored in the next Festival of Havana.
The Argentine begins with dinner at an apartment where several plotters are meeting against the Batista dictatorship, among whom is Ernesto Guevara. Some tremendous blows in the gate they all fear the arrival of the police. But it is only Fidel Castro, who with his usual energy during the meeting monopolize revolutionary talk, peppered with statistics on poverty and militaristic slogans. Later, alone, Castro and Guevara sealed an alliance based on insanity.
The rest of the film takes place in Sierra Maestra, in the guerrilla warfare against the Cuban army, in which Soderbergh surrenders to the mythical image of Che emblazoned on T-shirts and thongs, tattoos, coasters, charismatic, tough and rebellious. The standard picture of Hollywood cinema when it comes to jungle music combined with the use epic poetry composed by the increasingly impersonal Alberto Iglesias. The counterpoint of Che sweaty, asthmatic and reckless in the trenches of Caribbean luxury apartments located in New York where the radical-chic homage to the noble savage, Third underworld come to speak to the UN on behalf of Cuba, when he threw that famous and terrible speech in which he threatened to export the Revolutionary War to the American continent.
This is the most indecent of the film, when we wonder if Soderbergh is just a naive that you have read all the books on Che not understand all, or is a cynic who knew the film's success depended on a calculated ambiguity . How to get the recognition that Che Castro's revolution has been slammed against the killing as a revolutionary medium is admitted with acquiescence by the viewer? For showing, before Guevara proud to proclaim the ambassadors: "Executions, yes, we shot, shoot them and continue by shooting as long as necessary "showing, say, a run with the staff to be emotionally based, the two defectors from Castro's troops had been engaged in robbing the peasants and raping their wives and daughters. A good example of Mounting misuses dialectical.
course, since Soderberg sees his film as a weapon of mass disinformation, the end shows a triumphant Che harassment in the city of Santa Clara, but for a moment see him fulfilling its bureaucratic butcher at La Cabana.
Soderberg wanted to exculpate the Che, "understand", referring to the context. It has come to say he was the reincarnation of Washington, Jefferson and Adams together. To do so has had to despise and demonize opponents fighting the Batista dictatorship through nonviolent means and those who wanted the defeat of the dictatorship to establish in its place a liberal democracy. Ernesto Guevara, as good Marxist, I hated even more to these little bourgeois Batista. Also, following the script Guevara, the opposition leaders are portrayed as corrupt "negotiators", so distant from the pure, unsullied Argentina.
Of course, Che had nothing to do with the American liberators, and would look for a historical parallel rather than referring to virtue paranoid and murderous fury of the revolutionary Robespierre and Saint-Just. A Guevara can be applied perfectly wise and devoted tremendous Hegel analyzes the French Jacobins, Robespierre
The response was everything was ready for: la mort! Uniformity is supremely dull, but applies to all (...) I can kill all things, to disregard it. Thus, conceit itself is irresistible and can overcome anything. But the supreme, the highest to be overcome would be precisely this freedom, the death itself.
is now better understood the trap of the film's promotional statement: "A true revolutionary is guided by great feelings of love, love of humanity, truth and justice." And that is the great paradox, that Soderbergh is not even to touch, is that love for humanity in the abstract, is compatible with the hatred of every man, in particular. A paradox that ended devouring Ernesto Guevara, one of the most important American of the twentieth century for Soderbergh and the President of Argentina. So they are doing. Comment
Soderbergh its aim is that the girl he saw once in Manhattan with Che's face tattooed on his ass know better the man behind the mask commodified. I'm afraid the girl will continue to belong to the club of big ignorant who admire Guevara, and from Maradona belonging to the director of Le Monde Diplomatique, to Mike Tyson. As for those who I truly know, for example, the terrorist Iñaki Bilbao, who wore a shirt with his likeness on the day he threatened a judge of the Audiencia Nacional with seven shots-hit, it will seem insufferably shallow, exhibiting a decaffeinated Che ideologically Cuban version of Captain America. The rest, who only seek a good movie, I forecast a looong and boring afternoon.
CHE: EL ARGENTINO (US-Spain, 2008, 140 minutes). Director: Steven Soderbergh. Screenplay: Petr Buchman. Music: Alberto Iglesias. Cast: Benicio Del Toro, Demian Bichir, Elvira Mínguez, Jorge Perugorria, Eduard Fernández, Oscar Jaenada, Carlos Bardem. Rating: Endless (5 / 10).
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