The Motorcycle Diaries
review by Peter T. Chattaway | posted 9/24/2004
 1 of 4
For years, Ernesto "Che" Guevara has been more of a symbol than a man—but a symbol of what, exactly, is hard to say. The Latin American revolutionary, who helped bring Fidel Castro to power in Cuba in 1959 and died at the hands of the Bolivian army in 1967, is still revered for his Marxist politics in some quarters, but for many people, he is little more than the model for that famous image which can now be seen on everything from T-shirts to pop bottles: Framed by a beard and a beret, Che's face seems to stare, romantically but determinedly, into a future where things have been made better. Drained of any specific content, that image has come to represent a generic itch for change, and it has been co-opted by corporations and churches alike to show how hip and macho they can be.
Ernesto (Gael Garcia Bernal) and Alberto (Rodrigo de la Serna) in their travels across the continent
The Motorcycle Diaries aims to subvert all this by showing us the man behind the myth, but in its own way, it too downplays the particulars of the man and his politics. This is partly because the film limits its focus to a life-changing road trip that Ernesto (Gael Garcia Bernal, who previously played Che in the TV mini-series Fidel) and his buddy, Alberto Granada (Rodrigo de la Serna), took across South America in 1952, when they were still university students whose political identities had not yet been fully formed. This is also because director Walter Salles—who scored a crossover hit a few years ago with Central Station, a redemptive road movie about an old woman and an orphaned boy who go deep into the heart of Brazil—tends to emphasize the humanity of the characters through smaller, more intimate moments, while keeping overtly political statements to a minimum.
As a result, The Motorcycle Diaries is a beautiful and even entertaining travelogue of a film that won't ruffle too many feathers. It begins on a somewhat comical note, as Ernesto and Alberto wipe out on their beat-up 1939 Norton en route to the swanky Argentinean estate where Ernesto's girlfriend lives with her family, and Alberto discovers that Ernesto has smuggled a puppy on the bike as a gift for his beloved. (Many more wipeouts are to come.) Alberto is also something of a ladies' man, and always ready to be the life of the party, while Ernesto is somewhat awkward in social situations, and content to stick to the sidelines; when a woman does solicit his attention at a dance in Chile, she happens to be married, and her husband promptly runs Ernesto and his buddy out of town.
Ernesto and Chichina (Mia Maestro)
Some of their escapades, such as Alberto's success at a gambling table on the night that he decides to hook up with a prostitute, unfold a little too smoothly, a little too much like the sort of thing you'd expect to see in a movie. But at least a few of these episodes do seem to be authentic, such as the one in which a newspaper prints a photo of the two men after Ernesto feeds them a bogus story about their travels; the original newspaper clipping is one of many archival images that appears in the background during the end credits.
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