Che – Review

Pop culture has a way with events and figures, notably making them seem more ideal than historically appropriate. Che Guevara is one such victim of pop culture, maybe for no real wrongdoing, but his face has appeared on more coffee mugs and T-shirts than any other non-religious figure. His face seems to be an iconic symbol for inspiring change or upheaval, a counter-culture symbol for an idea against the norm. But I doubt if many kids who wear a shirt with him on it know the real reasons of Che’s ideals and beliefs. They’re probably looking for something cool.

Steven Soderbergh’s epic film does many things for Che as a person. He strips the figure down to his essence, ridding it of that unnecessary popular culture meaning, showing us who Che was and what he was fighting for. This film is smothered in historical accuracy and politics. We won’t get any Hollywood-ized shots of our hero, and for that we can be thankful. Soderbergh follows Che as if the camera was a character within the Revolution; it’s never flashy, never signals itself out and that’s a vital component in Soderbergh’s attempt to demystify Che.

The film is also one of dueling aspects. In Part One (The Argentine) we see the beginnings of a man speared into a belief of revolution, because of the injustices he witnesses when among the poor, who are the one’s mostly affect by the Batista Regime in Cuba. From these origins, we see the success of his beliefs come to strict completion, with the war won, “now the revolution starts”. Che in this regard is firing on all cylinders. Soderbergh mixes the war scenes and walks in the jungle, with some post-war victory marches as Che visits the United States, attends parties, and talks about his ideology in interviews, with a beautiful recreation in black and white. It also makes the case for a film more interesting (tangent) as a work of art. Soderbergh’s sound design for Che is remarkable for its subtle nature being interrupted by the unpredictability of war. These scenes don’t linger on the gore or the tactics used in a battle’s victory, but randomly come and go, much like the life within war. The sound is exceptional; loud, rude, and quite all within seconds.

Continuing with the film’s dueling nature is Part Two (The Guerilla). This is a completely different film, but one that follows the film’s arc, one that might be lost on you until the film is seen in its entirety. When Che decide to start another revolution in Bolivia, a country he felt needed one much like Cuba did a decade ago, everything that went right then, goes oh so wrong here. Where as his Cuban mission was organized, strategic, and a success, conquering Bolivia proved to be half-baked, unfocused, and a disaster. One could also argue the inclusion of Fidel Castro and his vital part in Cuba; where as the complete lack of him in Bolivia (Che and Castro were close), I think offers up some interesting discussions historically.

Also here in this film, we see the guerilla life in all of its glory, from the mundane to the crucial. One false move feels like it could destroy the mission and end your life. This is another characteristic of the film’s success. We not only witness the guerilla lifestyle, but we feel it and experience it. Since these scenes come at the end half of its mammoth running time (257 minutes) I would dare to be proven wrong if this film treats you like an exercise in method movie watching. Che and his fellow guerillas are not only hungry, but irritable and uncomfortable during the Bolivia campaign, which might be a common feeling the viewer has I think.

For that, the film really succeeds. I would recommend this venture into the world of Che. I can’t imagine taking in each film individually. I think the film makes a great case for its length. Soderbergh also takes away these common notions of what a biographical film should be, we see Che through his life and beliefs, always engaged in conversations of political nature. A bore to the easily entertained, but a treat to viewers that appreciate a journey more than escapist entertainment, Che is a complex film based on a complex man, with plenty of time to tackle the subject head-on in history, tee shirts be damned. Che constantly is a test, much like Guevara faced in real life. The film is epic; I can see some viewers wanting more insight into his character, but like Soderbergh’s camera, it’s all about the experience of being with him, through his successes and defeats.

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