I bet you’re curious as to why there’s a portrait of Gary Coleman painted on the side of this building in Cannes. And I’m sure that you’ll be even more curious when I inform you that the building in question is the municipality’s train station. I mean, I’m curious…
The fine folks at IndieWIRE have asked me to file a couple of Critic’s Notebooks from the Festival; please do go there and check out my first, an examination of the competition’s overall tone and a consideration of Steven Soderbergh’s Che, which I liked quite a bit. But don’t worry, there’ll be more stuff here before long.
Now that I’ve read your review of “Che”, I’m more curious, and open, to seeing it than I had been before. But is there really any good, convincing rationale for leaving out Guevara’s period as persecutor and Grand Executioner? I don’t believe there is, or at least I haven’t heard one, and it still sticks in my craw more than a little.
Yeah Bill—structural aptness aside (the first film treats a succesful revolutionary war [as opposed to revolution—Cuba’s was botched in the aftermath of Batista’s overthrow], and the second a failed one), that could be the $64,000 question. I missed the press conference but I’ll try to find out if it was addressed there—I can’t imagine it wasn’t.
I’m sorry, but the more I think about this, the angrier I get. How are these films not hagiogriphies, when they leave out Che’s murders and persecution of homosexuals, among others? It is NOT okay to canonize this guy. If a film were made about, say, Nixon that glossed over his sins, it would be pilloried, but in the case of Soderbergh’s Che films, the omissions becomes merely curious.
Jeffrey Wells said this about the films:
“In ‘The Argentine’ Guevara seems about as brave, thoughtful, resourceful and heroic as anyone could possibly imagine or portray him.”
Oh, well, that’s just super. I’m glad that the guy about whom the article I’m linking to below was written has been given such a Valentine of a film.
http://www.amigospais-guaracabuya.org/oaghf019.php
“I bet you’re curious as to why there’s a portrait of Gary Coleman painted on the side of this building in Cannes. And I’m sure that you’ll be even more curious when I inform you that the building in question is the municipality’s train station. I mean, I’m curious…”
Well, Gary’s always been… on the right track, no?
‑Jeff
Bill, this is a knotty enough subject to argue about under the best of conditions, and from a Blackberry it’s worse.But I will say here, first off, Jeff’s take is different from my own. Second, my own policy as a critic, for better or worse, is to consider what’s on screen in a given film, not what I want to be on screen or believe should be on screen. And yes, I think there SHOULD be a movie depicting the tyrannic horrors Che brought to Cuba; this is not that film. But neither is it a film that cheerleads for Che. If anything, the second part, “The Argentine,” is a study of a sort of hubris.
In any case,don’t let your anger get the better of you yet. U.S. market reaction, partially bolstered by Todd McCarthy’s Variety pan, suggests the film may undergo some further and possibly drastic changes before it sees an American release.
Well, okay. I know I haven’t seen it; it’s just that what I’m reading about the film now seems to be confirming my early fears. But I’ll let it go for now.
I still hope you’re able to get some information regarding the rationale behind this, though.
Workin’ on it!
And, not incidentally, your review makes me REALLY want this to have been about something else. As a MOVIE, it sounds fascinating. I’m not really sure that’s enough for me, though.
I second being curious to see it, although even if it does thematically make sense, it still feels like Soderbergh’s ducking the hard questions about why we should idolize this guy.
World Entertainment News Network, April 29th, 2008:
“Former child star Gary Coleman and his wife are heading to reality legal show ‘Divorce Court’ in a bid to save their seven-month marriage. The couple has taped a TV showdown with ‘Divorce Court’ regular Judge Lynn Toler, hoping her advice can help them reach their first wedding anniversary. The actor, 40, and his 22-year-old bride wed in secret last year but the romance has already been replaced with hostility. In an interview with news show ‘Entertainment Tonight’, Coleman Young’s wife [err, sic – that’d be: “Coleman’s young wife”] Shannon admits she’s had enough of the former ‘Diff’rent Strokes’ star’s tantrums. She says, “If he doesn’t get his way, he throws a temper tantrum like a five-year-old does.” Meanwhile, the actor, 40, insists his wife doesn’t listen to him: “If I have to throw something or break something, that’s what’s going to happen.” ”
I’m just glad Soderbergh has made something more substantial than the Ocean’s movies. It’s gutsy to have made interconnecting films about a very controversial historical figure and I hope the films aren’t edited heavily into one film for American release–I would like to see Soderbergh’s complete vision.
since you’re doing some stuff over at Indiewire, GK…can we expect your version of a live blog review soon? Dude, you shoulda done a Che live blog!! So cool. (yes, that’s sarcasm).