Based upon the works by Ernesto Guevara and close friend Alberto Granado, The Motorcycle Diaries is a magnificent, epic adventure that charts the journey of the two sibling-like friends across South America from Buenos Aires to Venezuela that will change their lives forever.
The Motorcycle Diaries for me is one of the most memorable pieces of film I have seen this year. Part funded and produced by Channel 4, a company dedicated to supporting independent film making and being at the cutting edge of powerful films. Yes, they’ve had some turkey’s during their time, but this is anything but.
Directed by Walter Salles, who also directed the lovely Central Station (which I’ll re-review at some point), and starring Gael Garcia Bernal (Guevara) and Rodrigo De La Serna (Granado), The Motorcycle Diaries manages to encompass that secret, free spirited desire to experience the world first hand. The locations, the beauty of the landscapes and the care with which the cinematography is managed is simply breath taking at times. The visual glow of the film alone is enough to mesmerise the viewer.
Although this film is about Guevara, before he became the pop culture icon on bedroom walls for kids who have little to no knowledge of who he was and what he actually did, it tells the story of how he came about the decision to do what he did. With him and his friend Granado, we experience (albeit in an artistically licensed sense) the trials and tribulations faced by the two on one last adventure across the South American continent as a way to celebrate Granado’s 30th birthday and his graduation from medical school.
What starts off as a journey of the free spirit, and improvised fun, quickly and morbidly becomes a beautiful and thought provoking experience for both Guevara and Granado as they trek the harsh terrain of the desert, the mountain snow, and vast, rough desert environments. The two characters themselves are complete opposites.
Guevara is the mild mannered, honest 23 year old who looks at the world with the eyes of a child; He sees suffering, and he suffers; if there is happiness he will smile. Rather than taking life by the throat, he chooses to let it drift him along. Sadly, he’s also whipped by his girlfriend, Chichina Ferreyra (played by the incredibly beautiful Mía Maestro) who descends from a rich family, of which none approve of the relationship between the two, and this causes some obvious friction and problems.
Granado is the absolute opposite, and the only thing that is as big as his appetite for life is his unquenchable appetite for women. Whereas Granado is willing to let slip a lie or two, Guevara disagrees and argues the point of honesty. There are moments when Guevara gives in, but all in all, he tries to follow the road of honesty; whereas Granado follows the path of hedonism. The thing that binds their friendship is their unsurmountable lust for adventure and discovery.
The way in which filming is done is quite wonderful, as we experience the rough terrain of the two protagonists with the camera man rocking back and forth over the stony roads; or the shivering of the camera when filming in the coldest parts of South America. It adds a psychological sense of authenticity knowing that the cameraman is actually suffering the weather as are the two leads.
Acting is simply wonderful throughout. There are moments of endearing closeness between Bernal and Serna that are incredibly well scripted and amazingly moving to watch. The scenes when the sorrow, misery and humbleness of their own luxury compared to the poor that are suffering at the hands of capitalist endeavours and the expulsion of those that believe in Communism is as horrific to watch as it is to see the change in Guevara’s attitude. He no longer thinks with his mind, but with his heart, which ultimately led to his demise; the feeling captured during an exchange between Guevara and Serna on how to unite America.
Bernal as Guevara is fantastic; aside from looking like a South American stud, he proves that he is not just a pretty face, and admirably pulls off a range of emotions and behaviours with precision and conviction. You experience his pain as well as his happiness. The same can also be said about his equally wonderful companion Serna as Granado. The two manage to display all the signs of an odd couple; a male friendship verging on a marital arrangement of fate. They bicker, they argue, and at times they hate each other; in the end though, when they need each other, they’re like family and never leave the other person’s side.
There is so much to love about the film. The beauty of that side of the world, as well as its darkness; the carefully and delicately written script which evoked some emotional response from me. I was moved several times during the film experience, as well laughing out loud at some of the stupidity the two manage to get themselves involved. And pity poor La Poderosa – the poor girl serves them so well throughout the journey; sure she was a handful, but she kicked and spluttered all the way and they get rid of her. Poor cow.
The negative aspects about the film are harder to come by, simply because I enjoyed this film immeasurably and consider it a fantastic road movie. As it is an art house, you could say that it is verging on the pretentious at times, with its self-congratulatory ethics of what Guevara envisioned and why he did what he did. There perhaps isn’t the balance that most would like, in a political sense, but the film is not about the political life of Guevara but the run up to it.
If someone else wishes to make a film of the political, I’m sure there will be a time and place for it, but The Motorcycle Diaries is more about the spiritual adventure. It can’t really be compared to Easy Rider or equivalent road movies, as they both have different ideals of what they’re trying to express. The Motorcycle Diaries is basically a biopic of one of the least understood, but well known figures in political history.
The audio and soundtrack to the film is also heartwarming as it is sorrowful. At times joyous and uplifting, and moments later depressing and tragic. The music is never overwhelming and always an accompaniment, rather than a focus, even during some of the hilarity of some of the latter end dancing scenes. It’s a soundtrack that is virtually polished with the professionalism you would expect, but keeping the essence and beauty of the culture within.
It’s true that there are moments when the film takes a minor nose dive with its “Che is holier than thou approach”. Yes, there are moments when the film starts to take an all too grand view of the life of Guevara before his political take, with almost saintly reverence – and there is perhaps too positive a spin on the 23 year old in his early years; Che was anything but Mother Theresa.
Still, as far as entertainment in the form of adaptation, it the works well enough, even with some rather large misrepresentations and falsehoods of what happened (artistic license folks) as well as significant changes; but it still serves to create a truly enjoyable (if unbalanced), alternative take on the remarkable life of one Che Guevara.
Verdict: A film to own, to admire and to experience