The motorcycle dies on them, but this film shows how an epic
road trip withhis buddy helps shape the revolutionary ideals of a
young Che Guevara
By Ong Sor Fern
THE MOTORCYCLE DIARIES (NC16)
123 minutes
Opens tomorrow
WHEEL OF LIFE: Gael Garcia Bernal (left) and Rodrigo de la Serna
are equally companion and foil in their roles.
THE grand achievement of The Motorcycle Diaries is in how humble
and casual it appears on first encounter.
Director Walter Salles' recreation of a 1952 road trip taken by
Argentinian youths Ernesto Guevara de la Serna and his buddy
Alberto Granado is gentle and warm.
But it also builds up an arresting soulfulness. Most impressive of
all, it is political without being preachy.
Guevara, 23 years old at the time of the journey, would later
emerge as Che, the famous revolutionary icon whose face now appears
on a million T-shirts.
He helped Fidel Castro plan the Cuban revolution, leading rebels
into Havana in 1959. He was captured and killed in a CIA-backed
operation by the Bolivian army on Oct 9, 1967.
But at the beginning of this film, Guevara, played with tender
regard by Gael Garcia Bernal, is still a tremulously romantic
medical student. Fuser, as he is nicknamed, is a dreamy asthmatic
whose ideals, as most young people's, are shaped by hazy book-bound
concepts.
His companion Granado (Rodrigo de la Serna) is the older but not
much wiser 29-year-old biochemist, hedonist and hearty
bluffer.
There is a laudable purpose to the trip - the two are headed to
Peru to volunteer at a leper colony.
But the journey ends up taking eight months on a stuttering
motorbike, which dies before the duo complete their perambulations
through Latin America, forcing them to finish their trek on
foot.
Diaries looks deceptively like an amiable buddy movie, full of
comic misadventures on the road. The duo squabble over money, pick
up women with the voracious appetites of healthy young men and bond
like frat brothers.
They are full of verve, blood and life, not merely a famous image
on a T-shirt. They are also engagingly flawed young men who are not
above petty spats and human fears.
But their encounters with uprooted peasants, impoverished Indians
and simple workers begin to change them.
Salles captures, with astonishing immediacy and minimum
sentimentality, how Fuser's initial idealism ignites a fiery
political conviction that would fuel Guevara's later exploits in
Cuba, the Congo and Bolivia.
Bernal's thoughtful Fuser reminds one of Shakespeare's Henry IV, a
prince-in-waiting whose intellect and sensibility is lying dormant
in anticipation of duties and accomplishments to come.
De la Serna imbues Granado with such Falstaffian vigour that he
never becomes a mere sidekick to Fuser. Instead, he is equally
companion and foil, champion and provocateur.
Salles' habit of placing the camera just behind or beside the duo
and his documentary-style detachment gives the viewer a sense of
tagging along as a privileged observer, watching as these two men
blossom into awareness.
The trip might have taken place 50 years ago, but Salles'
achievement is in imbuing it with a sense of the freshness the duo
must have felt in exploring their continent.
The land itself is a third character in the film, brought to vivid
life by cinematographer Eric Gautier's loving eye for the varied
landscapes of Latin America, from burning desert plains to verdant
vistas and snow-capped mountains.
True to Guevara's spirited exploration of identity both personal
and political in his memoir, this film feels like a truly intimate
peek into his heart. And that makes this a trip worth
taking.