#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – The Argentine, begins as Che and a band of Cuban exiles (led by Fidel Castro) reach the Cuban shore from Mexico in 1956. Within two years, they mobilized popular support and an army and toppled the U.S.-friendly regime of dictator Fulgencio Batista.
Plot: The Argentine, begins as Che and a band of Cuban exiles (led by Fidel Castro) reach the Cuban shore from Mexico in 1956. Within two years, they mobilized popular support and an army and toppled the U.S.-friendly regime of dictator Fulgencio Batista.
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Ambition and what comes with it…
So this is what I know. One can trust a director if one likes his/her work, and this trust can be even augmented if the director produces his own work, like the case of Steven Soderbergh with “Che”. I like this Soderbergh because he has control over his work, but it’s not the only reason. Before, in “Traffic”, he showed with his hand-held camera that he knew exactly what he was doing; and that he could do it in several ways (the black and white in “The Good German”, to put just an example) and with several genres.
I like Soberbergh because he has style, a defined style; and because he shoots like few directors. In this first part of his “Che”, he combines all the forms and styles he has tried when shooting and the result is undoubtedly his most ambitious project, but is it his best? That’s a very difficult question that can be treated from different angles and that I’m going to answer with a ‘no’.
The movie is Soderbergh’s most ambitious work from minute one, throwing in a lot of dates and different places and pictures of newspapers that attempt a quick historical reconstruction. We see Che speaking, in black and white, with people we can’t instantly distinguish and Soderbergh’s camera wanders through his knee until he finds an icon: Che’s cigar. Soon, Guevara is answering questions that have no particular nature but start becoming more precise to define the structure of the film; a confusing ride back and forth in time that revolves around Che but includes a lot of people and a lot of places.
The script, written by Peter Buchman and based on some memoirs of Che himself, clearly seems to be following a faithful reconstruction of the time spent by Che with the Guerilla and the towns he and the army conquered, his relationship with Fidel, the philosophy of life and work he had, his idea of revolution Yes, it’s too many people, too many places, too many things; I told you it was ambitious and it’s not the most entertaining ride for a viewer.
“Che, El Argentino” is a good movie because it succeeds in apparently everything it attempts to do, and it’s obvious it wasn’t a little deal. However, the reason of the word ‘apparently’ is because I found it difficult to find out exactly what Soderbergh was trying to do. I know and can guess some things: he shot in many places and through different periods of time, therefore his cinematography has merit and his editor Pablo Zumárraga has even more; he shot more action sequences than in any of his previous films and he managed to transmit the crudeness and lack of ‘spectacularity’ of the confrontations of the time, supported by a precise score by Alberto Iglesias; he explored, visually, his main character from almost every angle anyone could think of and this denotes a firm collaboration with the actors who plays it. In fact, the scenes in black and white, where we can easily see that the only ones working where Del Toro and Soderbergh.
It has to be said: Benicio Del Toro’s performance is brilliant, but not entirely because of what you see on screen. Even when his moves and postures express the work of someone who has intensely studied a historical figure and traveled for his purpose and God knows what else, his collaboration with Soderbergh is also crucial. The answers he gives throughout the film and define the structure of it, for example, are clearly recorded in post-production; and even when they help the viewer understand, they loose naturalness. Edition must have helped his work a lot; a work that wins in those moments when his Che is quiet, peaceful. There we understand him better and believe him, but then there are moments when he irradiates pure rage and is so natural and convincing that we wonder where he had kept those emotions the whole time.
So as you see, it’s a brilliant work, of contradiction. One could easily judge the performance as bad, because he doesn’t sound Argentinean or because he doesn’t sound the same in every scene; but that wouldn’t be fair, even more if you know the great actor Del Toro is.
Everything I’ve written takes me back to one question, or two a group of questions lead by: “what was Soderbergh’s attempt?”. Doing a movie about Che Guevara, an emblematic ‘icon’ (as the movie mentions in one point) everyone carries around in bags and collars and sometimes can’t answer why they’re carrying his photographs. Did Soderbergh want to show us who Che was? The real Che? Is it enough with a book written by Che himself to understand his message? And how should he put it on screen? Is this a biopic? A historic movie?
The way I see it, it’s all too general. Soderbergh made sure he showed the history and both of Che’s sides, the one everyone knows as good and the one that’s always referred as bad. It’s a good decision, as if Soderbergh wouldn’t want to discuss this aspect of his film; as if he wouldn’t want to fight anyone. Then why doing the film? Maybe my conclusions are wrong and the second part will tell me something else, but that last question isn’t worth asking because “Che” is a good movie; and that’s enough.
Hearkening a new type of film making
I’m going to review the 2 films as a whole because I feel that is how it should be considered, and watched. When I talk about ‘the film’ I am talking about parts 1 & 2 together when watched one after the other, as they should be.
Thank you Jon Anderson, Steven Soderbergh & Benicio Del Toro.
This film is a refreshing, bold, gritty and true film. And, it hearkens a new style of film making. No Faux drama. No Swelling sound track. Not Faux Documentary style. Just clean shots and an attempt to stick to the facts. I have been reading Jon Anderson’s “Che Guevara: A Revolutionary Life” and recently finished Fidel’s Auto biography, and this had helped my ability to soak this film in properly. But I have to say that it is Jon Anderson’s exhaustive, penultimate and wonderful biography that has given this film the proper historical back bone. Anderson was consultant on this film (or these 2 films). What makes this film a true thing is that it is clean. No swelling music or slow-motion photography to heighten drama, and even more importantly; no fake documentary shaky camera. Just square shots and straight forward shooting style. The type of camera used makes you feel right there in the jungle. Benicio Del Toro should be given full honors for this, I never doubted him as Che throughout the film… not once. He did a wonderful job and I will respect him for ever for this. Some people complain that the film only deals with 2 slices of his life and not the whole. But I think this is one of the true beautiful aspects of this film: it doesn’t try to be everything. It doesn’t try to ‘tell the story’. A person’s life is too multifaceted to try and tell in 2, 4, 8, 16 or 32 hours. This is one of the subtle beauties of this film, it resists that temptation, and stays focused on the intent of letting us GET A FEEL FOR CHE, HIS DEVELOPING MILITARISTIC MIND AND THE FORCES AROUND HIM. It focuses on 3 slices of time: The Battle to over throw Batista, Che’s U.N. speech and the Gorilla preparations in Bolivia. “Motorcycle Diaries” already told his young man side, and I applaud S. Soderbergh for focusing on other aspects instead. I keep referring to Jon Anderson’s book and the film stays true. The only weak link for me are the casting (not the performance) of Matt Damon. In a film so loaded with true to life performances, an American, (Matt Damon) playing a Bolivian is a clunky stretch – he does well, but after so much care in the casting, this was an over-site. Small and completely forgiven. The reality that the rest of the casting gives you, and most notably Benicio Del Toro’s amazing job, put’s this film at the top of my list.
The fact that this film went almost straight to video say’s something about how the cold war ethics that would never allow the ‘revolutionized Cuba’ to become what it might have, are still at work keeping it’s story quiet. If not out of clandestine muffling, then out of the effects of properly done propaganda that has prejudiced this topic.
This is a must see film, and Jon Anderson’s “Che Guevara: A Revolutionary Life” is a must read if you want to start to get a grasp of the early effects on the global mind set regarding the expansion of international / political financial chess moves of the 40’s, 50’s & 60’s that placed unfair pressure on our South American neighbors, and the effects it fostered.
Original Language en
Runtime 2 hr 14 min (134 min)
Rated Not Rated
Genre Biography, Drama, History, War
Director Steven Soderbergh
Writer Peter Buchman (screenplay), Ernesto ‘Che’ Guevara (memoir “Reminiscences of the Cuban Revolutionary War”)
Actors Julia Ormond, Benicio Del Toro, Oscar Isaac, Pablo Guevara
Country France, Spain, Mexico
Awards 4 wins & 12 nominations.
Production Company Telecinco Cinema, Guerrilla Films Inc., Morena Films
Sound Mix DTS, Dolby Digital, SDDS
Aspect Ratio 2.39 : 1
Camera Aaton A-Minima, Zeiss Ultra 16 Lenses, Panavision Panaflex Millennium XL2, Panavision C-Series Lenses, Red One Camera, Panavision C-Series Lenses
Laboratory Technicolor, Hollywood (CA), USA
Film Length 3,591 m (Sweden), 3,642 m (Portugal, 35 mm)
Negative Format 16 mm (Kodak Vision3 500T 7219), 35 mm (Kodak Vision3 500T 5219), Redcode RAW
Cinematographic Process Digital Intermediate (4K) (master format), Panavision (anamorphic) (source format), Redcode RAW (4K) (source format), Super 16 (source format)
Printed Film Format 35 mm (partial blow-up)