Che: The Argentine & The Gorilla

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Australia's enjoying a long weekend, so what better time to release Soderbergh's two-part epic, Che? These films screened back-to-back on the final day of the Sydney Film festival, and I, almost entirely undone by festival fatigue, attempted to wrap my head around them. My notes, scrawled in the pitch black of the dress circle, are for the most part illegible. So these months later, all I can impart are my impressions.

But first I'll include an extract from Beth's review (written soon after the SFF):

Titled Che: The Argentine and Che: The Guerrilla, or Che Part 1 and Che Part 2, depending on which posters you see, the source material for the films is Guevara’s own writings. The first film focuses on Guevara’s role in overthrowing Batista in Cuba 1956-9, the second shows Guevara’s demise during his unsuccessful campaign in Bolivia 1967. Stylistically both films have a 1970s production quality. The colours are cool, muted greens and greys. Digitally shot there is a documentary aesthetic to the films- this feels very intentional as if to suggest impartiality. It is important to recognise the differing dynamics of the two films despite similar settings. The first film is about success, ‘a how to’ wage guerrilla warfare, the second film is a tragedy, most definitely ‘how not to’. It is this subject of failure that makes Che Part 2 a more rewarding film experience. Guevara’s inability to gain the trust of the Bolivian people and his refusal to recognise his failings as they collapse in on him, presents a new perspective on the Guevara persona. Here was a man who could not adapt past the Cuba model, a model which had made him into a great figure in Latin America.

(read more - and see a great video of Soderbergh defending his creative decisions - over at Trespass)

I can also recommend listening to the Filmspotting review and interview with Soderbergh from episode 241.

The Argentine: Image

Beth's extract provides a good overview, but for me, the two parts of Che are better divided into 'the icon' and 'the man'. This dichotomy is not only played out in the different storylines (success in Cuba verses bitter defeat in Bolivia), but in Soderbergh's stylistic choices.

Which brings me to arguable the rival main character of this epic: the RED camera. I've already waxed lyrical about this amazing camera (and Soderbergh) in my review of The Girlfriend Experience, but both warrant some more love in Che. Part 1 is all jaw-dropping, vibrantly rich colour in the digital spirit of 70s cinema, while Soderbergh pares it back in Part 2, with more subtle hues of greys and greens.

His shot selection also undergoes a transformation between the two parts. As an 'icon' Che the Argentine is often shot from a distance and from lower angles, elevating his physical stature as his symbol was on the rise. However as the Gorilla, Che is brought down to earth, with more close ups and higher angle shots unveiling the fallibility of this mortal man.

Much has been made of Soderbergh's pick-and-choose storyline, which controversially overlooks vast tracks of time in both Cuba and the Congo. Some argue the stories romanticise the 'hero' and the 'martyr,' which, could potentially elevate, rather than personalise Che's iconic status.

For me, Soderbergh has served up an intelligent, provocative and entertaining introduction to this historic figure. My thoughts on the complexities and possibilities of historical films will have to wait for another day, but suffice it to say Soderbergh succeeds in drawing an intriguing portrait of Che, and one that encourages its audience to learn more about the man, and the realities that created the icon.

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The Argentine:


The Gorilla:


Combined theatrical trailer:

Australian release date: 1 October 2009