Movie Review: "Che!" (1969; 20th Century Fox/Twilight Time)

...now, admittedly and...well, more than a little embarrassingly (...considering that I often make claim to being a respectably knowledgeable history buff), in going into this film for the very first time, recently, this reviewer quite literally knew nothing about the main protagonist herein...this (...squinting through reading glasses, at the disc's film's capsule synopsis) Che Guevara...though I do recall his artistically poignant impact on pop culture visuals, as well as his subsequent impact on the establishment-bashing youth of the time, without really knowing who he was. If anything, at that very young age, I was...at the very least...dimly aware of, and inundated with the media inklings and breaking news broadcasts of what was happening, as well as what had happened, in Cuba's rather torrent and controversial history, from the early sixties, up through the dawn of the '70's decade; at least I had something to go on...something, in an attempt to match the historical person depicted, with the history associated with him...



...and so, in preparing to examine the film, presented before this reviewer...first things, first. And as a certain other pop culture icon recently 'suggested', albeit a humorously diabolical one..."...git' yourself a Trapper Keeper and some loose leaf, 'cause you're about to get schooled, son!!"

...spinning short, the history of Che Guevara...that is, as it is herein presented in the particular filmed rendition of the story, which we are gathered here for...as opposed to than the rather extensive textbook reflection on the person (...as anyone venturing the pages of an 'every-man' contributing Wikipedia, might be well prepared to encounter), here's the short-form 'skinny': In the warfare-violent throes of the Cuban Revolution, circa mid-to-late '50's, Che Guevara, a young and ambitious Argentine field doctor quickly and charismatically finds himself thrust up through the ranks of the warfare campaign, and as such, gains the respect of not only the fighters of his assigned patrol, but eventually, the attention of Fidel Castro, himself, who in having been impressed with Che's charisma, sense of discipline and suggestive tactics, unprecedentedly makes him his chief military advisor...

...driven by ever-increasing, egotistic ambition and vision, Che manages to effect influential, behind-the-scenes tactics, in Castro's determined campaign towards the defeat and overthrow of Fulgencio Batista, the then-reigning president of Cuba. So influential and charismatic was Che's effect, during the on-going Revolution, that Castro himself, often times, found himself almost dependent upon Che. And in considering this dependence, coupled with a sense of inner paranoia and a growing sense that such dependence would be construed as weakness, Castro instills a measure of disillusionment in Che, who in turn chooses to leave Cuba, after Castro makes the monumental decision to back down on his posture, during the famed Cuban Missile Crisis...

...making his way to Bolivia, amidst his disillusionment...convinced that Castro had become a way-too easily wielded 'puppet' of the Soviet Union...Che, believing that his influence would be better applied to that of directing blind visionary, world-wide peasant revolt, instead finds his power waning, in the light of those whom progressively refuse to fight and die for his 'cause'...a cause which in Che's eyes, they had failed to see, though in truth, all they wanted to be, is left alone. And defiant to the last...quite literally...Che is driven from his self-imposed post, and pursued into exile, by the Bolivian forces, whom he had hoped to influence...

...and as compelling, as well as interesting as this character study presents itself as, the overall affect of the film, is surprisingly enough, one of exceptional lacking, and at the same time, that of pure and unadulterated exploitation. For the former, considering the renowned pedigree of writer's prowess involved...namely that of screenplay writer Michael Wilson, of "The Bridge on the River Kwai", "Lawrence of Arabia" and "The Sandpiper" fame...it is discerning to see the life of such a charismatic and influential character, such as Che Guevara, covered so lightly, so matter-of-fact, and so fleeting. Most assuredly, an interesting character in world history, one can't help, upon viewing this incarnation of history, in wanting ever-so-much to know more about him; most viewers may well find themselves very much short-changed, in this respect, and ultimately would have to wait just short of 40 years, for an even more compelling, complex and thorough telling of Che's story (...circa, director Steven Soderbergh's 2008's "Che", starring Benicio del Toro in the title role)...

...however, where this particular "Che!" seems to succeed foremost, is in the unconventional reveling and exploitation of the character, which at the time of the film's release, such uplifting of character, might not have been so unconventionally marked, as the mid-to-late '90's was replant with a social embrace...especially that of impressionable youth...of anti-heroic characters and symbols, who historically had managed to stand out in the sense that they were rebelliously bucking the 'system' or 'establishment, who was alternately determined to demonize the man...a reciprocative concept that is wholly reflected in "Che!", by the titular character. And as often happens with such embraceably charismatic and compellingly outspoken persons, such as Che Guevara, such revelry of character becomes indelibly stamped in social and pop culture. And as prevalent as such imagery appeared...especially with the splashy-colored, Warhol-ish, pop art visage of Che, which was damn near inescapable, at the time...the film itself, with opportunist fervor, gleefully capitalized on the social appeal of the character, with this film...

...and said opportunist approach to the film, clearly seems to make it's mark, even in the film's casting...especially for the role of Che, as portrayed by actor Omar Sharif...whose uncanny resemblance to to the character appears more than coincidental...to the point of being almost gimmicky. Unfortunately, given the character's embarrassingly spoken retory...very much unbecoming of someone, the caliber of actor Sharif...it only in appearance, where the sense of similarity comes to...well, not so much a screeching halt, but enough to instill into viewers, moments of "...wh-wh-what??" Not that the spoken dialogue doesn't necessarily associate with the characters; it is the actual interaction between characters, which elicits sometimes campy, sometimes offensive, and often times chuckle-inducing un-realism...especially when Che engages conversation with the unusually restrained Jack Palance's mis-interpretation of Castro (...for a high profile character like this, you want to see the character, not the actor playing the character...in this case, one doesn't see Castro, but instead sees Jack Palance AS Castro)...the whole of which is reduced to, and equates to something not unlike that of a Hispanic 'Odd Couple'...not unlike that of a constantly bickering married couple...

...as with many of director Richard Fliescher's productions (...Disney's "20,000 Leagues Under the Sea", "Soylent Green", "Fantastic Voyage" and "The Jazz Singer" hardly begins to list his renowned work), , the film is very rich and thick in scenic atmosphere and land-sweeping visuals; the harshness, intensity and instability of the Cuban Revolution conflict is strikingly envisioned, herein...though admittedly, at time, more than a bit cliched and stereotyped. This observation couldn't possibly be more evident, with the addition of brief eyewitness moments, proceeding each beat-by-choreographed-beat of Che's contributrive events in the Revolution conflict...some, praising him...some, hatefully critical...some, with indifference...but often, appearing as 'fake' as the typical forced-smiling used car salesman...

...despite how compellingly negligible "Che!" might well be perceived and almost forgotten, Twilight Time still manages to procure a rather beautiful print of the film...exuding the bravura intent and feel of the film's moment in time, alas which ultimately proved for naught, in what culminated into a rather embarrassing depiction of political history, as seen by critics and general audiences alike, upon initial release. Playing up the more exploitative aspects of the film, a behind-the-scenes short, as well as a provided movie trailer totes Che Guevara as alternately, the anti-hero and a sort of 'establishment'-monikered 'gangster', who's juxstapositioned place in history, had him subsequently marked with sole responsibility for the anti-war revelry, which pretty much ran parallel during the time of the Cuban Revolution, as well as the simultaneous Vietnam War...

...in engaging and reflecting upon "Che!", this viewer cannot help but be reminded of a poignant line spoken by actor Christopher Walken, in 1993's "True Romance", where he says, "...what we got here is a little game of show and tell. You don't wanna tell me nothin', but you're showin' me everything..." Reaching back to a reminiscent lump in the back of my head, I also fondly recall the countless times my high school teacher thunked me resoundly, back there, after finding out that I had 'cheated' on some literature, by reading the Cliff Notes, rather than the actual, much more extensive and informative literary work. "Che!" seems to work a lot like that, in the sense that it shows a lot...the scenery, the atmosphere, the characters...but it really doesn't say much, in the long run...basically, an example of the bare-bones-basic cinematic equivalent of Cliff Notes...and for such a compellingly stand-out, anti-heroic, charismatic, though self-misguided character, such as Che Guevara...well, let's just say that after viewing 1969's "Che!", most people will find that the character is assuredly deserving of more than this, that the dramatic proceedings are rather lacking, and as such, leave most wanting more. However, as an exercise in the type of exploitation, which was beginning to assume prevalence, around this time, "Che!" definitely satisfies, in that respect...

...going in, it all depends upon what one is looking for, herein...the harsh reality, or the pure and unadulterated sensationalism. For the former, one would probably be best in checking out the 2008 Soderbergh production, instead (...or perhaps, even the acclaimed 2004 production, "The Motorcycle Diaries"); for the latter, however...well, how about that?? You, my friends, just happen to be in the right place.....