The Motorcycle Diaries (Widescreen Edition)

Rating:
Summary: "Two LivesThat Parallel Each Other ForAwhile"Mighty One Film
Review: The Movie Motorcycle Diaries, chronicles the coming of age journey of Ernesto "Che" Guevera and his friend the chubby Alberto, as they flirt, and crash their way through Latin America. You'll see what I mean about crashing. One cool movie though. We see the development of Ernesto becoming "Che," his anger at the unfair treatment of poor and lowly, and its easy to see how he would become a champion for the disinfranchised and the "real" people of the world. Culminating in a beautiful speech given by Ernesto near the end of the film, in regards to the stupidity of borders and nations in Latin America, "from Mexico to Argentina we are one Mestizo people." No the film doesn't spell out Che's eventual political affiliations with socialism, that's right socialism, not communism, there is a difference you know. We know where his loyalties end up so we don't really need to know. The film doesn't spell this out for us we are told, though in more subtle ways.
The film is really a beautiful piece of work, some of the most gorgeous cimenatogrophy that I've ever seen, fog covered lakes, and rain soked jungle covered mountain passes, the total visual effect of the this film is outstanding, just wish it had been dubbed, so I could have caught even more of the effect.

Rating:
Summary: An excellent 'road trip' movie
Review: "The Motorcycle Diaries" is one of my favorite movies from 2004. Lyrical and insightful, it is one of the best `road trip' movies of all time.

It is 1952. Two medical students from Caracas, Venezualia, Ernesto [Gael Garcia Bernal] and Alberto [Rodrigo De la Serna] are about to go on a trip on an old motorcycle through the heart of South America. What they encounter is a South America far different from their comfortable middle-class upbringing. Intellectually, they know what they will see. The gut response is far different, especially for Ernesto.

Gael Garcia Bernal is one of the great actors of our generation. He gives to Ernesto a great meaning and presence.

"The Motorcycle Diaries" is based on a true story. Alberto went on to become a famous doctor in Cuba. Alberto became Che Guevara. If you don't know who he was, forget this movie.


Rating:
Summary: Completely, Totally, and Utterly Awesome!!!
Review: "The Motorcycle Diaries" starts out as a buddy "road-trip" movie. It's two protagonists, Ernesto Guevarra ("Fuser," his nickname throughout the movie, as he is not yet the radical revolutionary "Che," the name the world would eventually know him by) and his cousin Alberto Granados ("Mial") go on what is supposed to be a wild motorcycle joy ride around South America. The plan is to be ambulant party animals, and the early part of the film is precisely that. The cousins get into alcohol induced hijinx as they try to drink, fornicate with the local women, and party through the continent, riding from one town into another.

But little do they know that fate would twist their romp into what would be a soul-searching expedition. Their Norton 500 motorcycle breaks down halfway up the Chilean coast. The pair would have to live like tramps, living off the kindness of strangers hitch-hiking the rest of the way.

They face adversity as they tramp their way through Chile; witness the horrendous working conditions of migrant mine workers at Chuquicamata; live among disposessed and oppressed indigenous Incas in Peru; reach an emotional checkpoint when they climb the "Stairway to Heaven" and reach Machu Pichu; and embark on a tramp steamer to a lepper colony on the Amazon, where Guevarra witnesses the difference beween the living conditions between those who can afford First Class, who have their own cabins, and everyone else, who are packed like livestock while being towed in a barge that is exposed to the elements.

At the lepper colony Guevara and Granados volunteer as medics. It is here that Guevarra's transformation is complete. He is no longer "Fuser", the drunken party animal, but "Che", the radical revolutionary.

This film is an awesome view into the 6 month journey of a lifetime!!!


Rating:
Summary: Che's Journey to Self-Discovery and Personal Wisdom...
Review: Education usually relates to schools, universities, libraries, and books, however, often it is forgotten that society itself can be perceived as a source for information of deeper enlightenment. Through society and the environments in which people coexist information can be acquired that furthers notions in regards to personal values, beliefs, and morals. These concepts are seldom taught in academic settings besides spiritual and philosophical classes. A person's beliefs and moral values illustrate the persona of an individual, and it is often how people connect to one another. Motorcycle Diaries offers some insights to how these beliefs and morals might have been acquired on a long journey through the South American continent.

The 23-year old Ernesto Guevara de la Serna (Gael García Bernal ) who has gained the nickname El Fuser and later became renowned through the name Che plans a long motorcycle trip with his friend Alberto Granado (Rodrigo De la Serna). The trip is expected to bring them to Venezuela for Alberto's 30th birthday, and on the journey they anticipate meeting several beautiful women to sway. The two friends do not look at life too seriously, as they expect this journey to become a fantasy come true where they get to do things they have dreamed of for years. When the day comes they pack up on the "Mighty One", a leaky motorcycle from 1938 that is to bring them to their destination.

Carelessly Fuser and Alberto begin their dream trip while almost getting into an accident before they leave the block where Fuser's family lives. Not thinking of it too much of it the two young men continue their adventure into uncharted territory. There are several small incidents where they fall with the motorcycle, which could have had dire consequences. These moments offer a strong opportunity to look into how these two young men observe the world, as it gives some insights to the securities and comforts in which they were brought up. It also gives a perspective on how ignorant these two young men truly are about the world, despite having advanced degrees or almost finished doctoral degrees. Furthermore, the name of the motorcycle, the Might One, offers a perceptive analogy with some irony as it gives more detailed depictions of how reckless and absent minded they are in regards to their journey. Their preconceived notions and dreams have also distorted their perception on how they approach their long journey.

The first stop on the long journey is a visit to Fuser's girlfriend, Chichina (Mia Maestro), who lives in an idyllic Alp mansion that seems to be completely out of place. Even Alberto comments on the mansion's appearance. However, this first stop visualizes the two friend's dreamy vision of the venture. This visit to Chichina offers a deeper development of Fuser's personality, which depicts a righteously romantic character. When they leave it is hard on both Chichina and Fuser, but the trip is something he has to do for himself.

Slowly the two traveling companions begin their true journey through the harsh, yet beautiful terrain of Patagonia while ascending the southern portion of the Andes. They face adversity through weather and wind, hunger, and mechanical breakdown, but they persist on without the idea of ever quitting. Fuser has 15 dollars in his pocket that he received from Chichina, but he does not intend to use it. Lividly Alberto expresses that the money could help them get out of trouble, but Fuser remains firm on not using the money.

The film's turning point arrives when Fuser receives a letter from Chichina, which evidently causes Fuser to feel emotional pain. The sound in the following scenes brings the audience a thundering murmur, as if Fuser is about to explode. The scene that shows an elevator going down until the screen turns black visualizes Fuser's emotional state. This is followed by Fuser sitting in complete silence on a beach by the Pacific Ocean and while in deep contemplation he rereads the letter. All Alfredo can do is sit and watch his friend, as even his talkative nature does not know how to approach the situation. When Fuser breaks the silence he behaves more seriously, as if his previous idealistic perception had been shattered and he had been forced to rethink his approach to the world.

The rest of the journey slows down as Fuser begins to take his time to get to know the people and the land through which he is traveling. Through the people Fuser and Alberto begin to see the injustice in the world-something they never could have imagined, as it is not written in the books they have read. It seems as if they begin to question the foundation upon which they have been brought up, and begin to criticize rules and regulations.

Walter Salles who also directed the critically acclaimed Behind the Sun (2001) makes Motorcycle Diaries, which depicts Che Guevara before the years when he led the coup in Cuba. The film does not glorify Che's political achievements as a communistic revolutionary, but depicts how he might have acquired his values and ideas that made him the man he later became. This is what makes the film accessible for all viewers, as it is not a political film. It is a film that depicts how a man might have changed, and acquired wisdom to make the decisions he made later in life. In essence, it is a film about learning.

The cinematography that Salles employs through cinematographer Eric Gautier is marvelous. An example is the way camera is used during movement, which brings the audience a jerky and bumpy experience, which brings the film a more authentic feel in the same way as a private home video filmed with a handheld camera. There are also many other scenes that elevate the cinematic experience, for instance, the many close ups of Alberto and Che's faces. Those unaware should know that this film is based on a true story; however, it does not point this out in the beginning as most films based on reality do. This is a clever way of making the film even more enjoyable, which in the end will offer much for the viewers to contemplate through the many hardships that Che and Alberto face.

Rating:
Summary: I am quite torn.
Review: I saw this in theatres and have been looking forward to the DVD release of the film ever since. HOWEVER, it is definitely worth noting that this piece does not explore Che Guevara's philosophies, his shifting political stance, or his revolutionary work as an organizer in-depth. It should be acknowledged that Che Guevara is a young, idealistic hero/protagonist in this film, and that this view of him is not shared by everyone who has studied his life and work. That being said, I couldn't help but enjoy the beautiful cinematography, the great performance by Gael García Bernal, and the storyline itself, though fictionalized in many respects. Perhaps if I was more well-versed in Guevara's politics and lifestory, I would not have. But this movie makes me happy (probably because it appeals to my youthful idealism).

Rating:
Summary: Lushly filmed, but...
Review: It's nice to see a movie that looks so nice and seems to be more about the development of conscience than about politics and revolution. It's nice, but this movie is too morally ambiguous for my taste. I'm not a red-hater, or anything, but a movie that treats one of the architects of arguably the world's most repressive regime--even in the name of giving freedom to the exploited--should not be honored in film form.

Imagine you're a film executive listening to a pitch. Here's how it goes: a young student from an abusive household visits a foreign land and is shocked at the way of living that the poor underclass has to put up with. He's working for the government to get out of the poor house and his assignment is to infiltrate a small, extremist group of young rebels whose rhetoric is worrying the powers that be. He infiltrates the group and soon realizes that he believes them more than his employers, and must make a stand for his beliefs. Sounds somewhat familiar, right? Maybe good? Well, congratulations, because you've just green-lighted The Adolf Hitler Story. Che Guevara might not have the same amount of blood on his hands as Fidel Castro and his decades-long reign of (quite literally) terror, but Guevara ensured that Castro would take full control by thwarting the will of the people for a socialist, or even a full, democracy. This is just a matter of historical record. Guevara is seen as embodying what was good about the New Year's Revolution, and Castro is seen as embodying the excess, but Guevara imprisoned dissidents too, and without Che's help Castro would never have ascended to where he is today.

I might be accused of oversimplification in this instance, but I am speaking out against the cult of Che that has gone on long enough. His visage graces shirts, beer bottles, etc., all over the world, even though he was an accessory to the creator of one of the most brutal regimes in history. If you want to give me a 'no' vote below because I'm raining on your parade, fine, but if you can't take criticism on your beliefs, maybe you should examine why that is.

Rating:
Summary: Que pasa con los subtitulos?
Review: That's right. What's with NOT being able to turn off the English subtitles, despite the option to do so. Ridiculous. The movie 'Traffic' affords this option, so it CAN be done.

Rating:
Summary: Deserves More Than Five Stars
Review: The film begins as most other `buddy films' begin, with the image of two young men setting out for a fun-filled chaotic road trip. And the beginning would make little impression (besides the infectious youthful zeal of the participants), if it were not for the fact that the two young men are Alberto Granado and Ernesto (a.k.a. Fuser, or later Che) Guevara.

To say that the Motorcycle Diaries is a coming-of-age story is misleading (though the film has aspects of that genre). It is a coming-of-conscious journey. In 1952 Granado and Guevara explore the continent, travelling through their native Argentina, through Chile, and Peru. About half-way through the film, the pair's 1939 British Norton motorcycle dies and they continue their journey by foot and hitch-hiking, relying on the kindness of strangers (and thereby forming an emotional bond with the inhabitants of various countries).

Their trip culminates in a visit to a leper colony in the Peruvian Amazon, which illustrates the segregation of society. The well-to-do patients live in basically respectable dwellings, while the remainder are relegated to rubble. Guevara and Granado refused to wear gloves when they meet their patients, thereby establishing that they are willing to mix with the "undesirables" of the population. Both young men are changed by their experiences in the colony. It is a culmination of their social awakening. Just before they leave, Guevara swims across the river. This act is reminiscent of the initiatory baptism, the washing away of the old life to create the new way of life. The scene may seem like an overly obvious metaphor to some viewers (especially considering that he swims away from the well-to-do doctors and nuns and towards the "undesirable" lepers).

As in Y tu mamá también, Gael García Bernal gives a stunning, understated performance entirely worthy of the Oscar that he was cheated. He brings the young Che to life; he makes him real and separates him from the mythic legend surrounding Che's later revolutionary activities. Bernal's Che is likeable, charismatic, intelligent and compassionate, which even Che detractors must recognize. Bernal's Che is pre-revolutionary and follows the young man's transformation from a fun-loving, slightly irresponsible medical student, to the socially conscious idealist and radical. He is not yet the Che who became Castro's right hand man in the Cuban Revolution, but he is on his way.

Che-loving dissidents and idealists will love this romanticized portrait of their hero. The film emphasizes Guevara's great love for the South American people and the oppressed indigenous tribes.

Che detractors will be relieved by the absent didactic tone. Walter Salles' direction is seamless and subtle. The film seems to unfold on its own terms and devoid of any overt political commentary. Salles allows the harsh living conditions of the poverty-stricken South Americans to speak for itself, and to highlight Guevara and Granado's growing awareness of the injustice. There is only one mention of communism, when the pair meet a homeless Indian couple who had been persecuted for their communist sympathies. Other than the surprise which crosses Guevara's features, no comment is made. But this film is not a political film; it is a social commentary.

Rodrigo de la Serna as Alberto Granado is the life of the film. He steals many of the scenes and his witty, gregarious performance sets the pace for the film. He provides just enough humor in the midst of some of the appalling scenes of misery. And of course, as a relative of the historical Che Guevara, de la Serna provides a tangible link to the subject.

In the end, Salles provides a poignant, hopeful ending. The two friends part and Guevara finishes his medical studies before embarking upon his political career. They do not meet for eight years when Guevara (now Che and second in command to Castro) invites Granado to Cuba.

The cinematography is astounding and showcases the South American landscape. The great panoramic sweeps of the camera perfectly illustrates the dizzying height of the Andes, the emerald fields and the Incan ruins. Each scene is carefully chosen to illustrate the diversity of the land and the people. While little attention is paid to the well-to-do inhabitants, Salles captures the diversity of the populations, the struggles of the minorities and the disenfranchised Incans.

The images of the Incan ruins is perhaps the most poignant images of the film. Relics and lost worlds, lost opportunities and a history robbed: this is what the native South Americans suffered. Granado and Guevara visit the majestic Incan capital of Machu Picchu and are struck by their connection to the ancient peoples. Guevara writes sadly, "How can I feel nostalgia for a world I never knew?" And that moment is one of the many turning points in the film. Guevara becomes ever more aware of the need to unite these South American peoples and to reclaim their heritage.

The true star is the South American continent. The film will leave you wanting to read more, see more of this beautiful land and its fascinating history. The Motorcycle Diaries was one of the best films of 2004 and well worth the money.


Rating:
Summary: Excellent movie, dissapointed with subtitles
Review: The movie is excellent and I don't feel the need to say anything more about the plot or cinematic features than what has already been said.

I gave the movie four stars because I bought the DVD hoping to be able to take in the movie in Spanish without the English subtitles. I was very dissapointed that one can't disable the English subtitles--rather, they are permanently superimposed over the film. Personally, I find them to be distracting. For others hoping to do the same, be sure to find a DVD that is formatted without the English subtitles (if such exists).

Rating:
Summary: Allow me to join the chorus...
Review: Wow. What an amazingly well-made movie. To begin with, the cinematography is stunning. Gorgeous. Evocative. Real art. The script -- which tells the idealized story of a continent-spanning, soul-transforming road trip taken by a young Ernesto "Fuser" Guevara (later to be known as "Che") -- is a masterpiece of understatement and economy, and the acting is uniformly terrific. I honestly don't think there is a single weak link anywhere to be found in this film: other than the arguably simplistic portrayal of a potent historical character, this is as perfect a movie as you'll ever see. Plus, to take on the task of presenting such as iconic figure as Guevara, whose historical legacy has an almost unparalelled importance to all of Latin America, is such a daunting task, and Salles does it so well. It's really impressive. What more can I say, other that to insist that you have to see this in the full, widescreen edition -- it would be criminal to miss out on the proper framing of such beautiful camera work.