Since we’re impatient as fuck, we had no choice but to watch Steven Soderbergh’s ‘Che,’ in two separate parts (the full four hour screening is tomorrow, we’re *that* impatient). Today we saw the first half, “The Argentine.” But note…
We have no complaint or quarrel having our “Che” experience cut in half. We found ourselves restless and becoming exhausted by films not even two hours long during TIFF, but part one of Steven Soderbergh’s unsentimental yet intimate depiction of the Cuban revolution was magnetically engrossing with nary a dull second.
In fact, the split has saved us from potential fatigue and we can’t wait for more, but the film doesn’t leave one on any cliffhanger and stands alone as a formidable piece of work. Equally captivating was the matter of fact performance by Benicio del Toro all the more impressive for its power and projection largely in lieu of close-ups or “movie moments.”
Eschewing almost all the familiar biopic tropes and all traces of centerpiece ostentatious and sweeping cinematic gestures, Soderbergh’s lens acts like a near silent documentarian soaking in the action.
Straightforward and extremely literal, “Che” unspools almost as if one is watching a finely crafted docu-drama and this perhaps why some have called the film “undramatic,” but it actually has everything to do with the abandonment of Hollywood like arcs, twists, gesticulations and cliches.
Reminding of us a tough-minded BBC film, “Che” is understated, yet still as stirring as anything we’ve seen at the festival thus far.
A clean portrait rather than a hagiography or a vilification, the lithe film moves briskly, with Soderbergh’s trademark super efficiency and its movement from 1954-1959 (when the revolution was won) is anchored by the only real movie convention – Guevara’s 1964 address to the United Nations, which is shot in black and white restraint and as trenchantly rousing as anything else depicted on screen. Modest and mannered in its simplicity, there’s also a lively undercurrent to del Toro’s performance that acts as a subtle call-to-arms tone rather apropos to the film.
More than an anything, “Che” is a remarkable achievement and an impressive event to experience. [A] Tomorrow, we see “Guerilla.” And note, almost all the footage and images we’ve seen thus far of the film are of the “The Argentine.” Though we have found some ‘Guerrilla’ images for tomorrow. Lastly, note to the two film titles seem to be just a formality at this point. There was no title of “The Argentine” anywhere, but then again, I don’t think we saw a title that said, “Che,” either, it’s that plain and unadorned, but it’s a testament to the film’s prowess that it can convey so much with so little. Unfortunately, neither Soderbergh nor del Toro were at the event and as the festival winds down, we assume the star wattage will as well (it doesn’t make a difference to us though). [A]
Here’s our review of the Part Two: “Guerilla” which was equally astonishing.
