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Directed by | |||
| Steven Soderbergh | |||
Writing credits(WGA) | ||
| Peter Buchman | (screenplay) and | |
| Benjamin A. van der Veen | (screenplay) | |
| Ernesto 'Che' Guevara | (Bolivian Diary) | |
Original Music by | |||
| Alberto Iglesias | |||
Cinematography by | |||
| Steven Soderbergh | (as Peter Andrews) | ||
Film Editing by | |||
| Pablo Zumárraga | |||
Casting by | |||
| Rodrigo Bellott | |||
| J.C. Cantu | |||
| Carla Hool | |||
| Suzanne Smith | |||
| Mary Vernieu | |||
Production Design by | |||
| Antxón Gómez | |||
| Philip Messina | |||
Art Direction by | |||
| Juan Pedro De Gaspar | |||
Set Decoration by | |||
| Pilar Revuelta | |||
Costume Design by | |||
| Bina Daigeler | |||
Makeup Department | |||
| Barbara Cantu | .... | key hairstylist: Puerto Rico & Mexico | |
| Gloria Pasqua Casny | .... | hair department head: Puerto Rico & Mexico | |
| Oscar del Monte | .... | special makeup effects artist | |
| Nacho Díaz | .... | special makeup effects artist | |
| Loretta James-Demasi | .... | key make-up artist: Puerto Rico and Mexico | |
| Katherine James | .... | make-up department head: Puerto Rico and Mexico | |
| Natasha Ladek | .... | wig maker: Benicio Del Toro | |
| Ana López Puigcerver | .... | makeup department head | |
| Gail Rowell-Ryan | .... | hair stylist: Benicio Del Toror | |
Second Unit Director or Assistant Director | |||
| Christopher Downs | .... | second second assistant director | |
| Marcos González Palma | .... | dga trainee: Puerto Rico/Mexico | |
| Carlos Gras | .... | second assistant director | |
| Brian Kenyon | .... | additional second assistant director: New York | |
| Amy Lauritsen | .... | second assistant director | |
| Pedro Lazaga | .... | first assistant director | |
| Lynne Martin | .... | additional second assistant director | |
| Joseph P. Reidy | .... | first assistant director: New York | |
| Tomás Silberman | .... | trainee assistant director | |
| John Silvestri | .... | second second assistant director | |
| Jody Spilkoman | .... | key second assistant director | |
Art Department | |||
| Tommy Allen | .... | property master: New York | |
| Gary Cergol | .... | art department coordinator | |
| Rick Chavez | .... | assistant property master | |
| Abariss Culjak | .... | set dresser | |
| Derrick Kardos | .... | additional graphic designer: props | |
| Angela Nahlim | .... | assistant decorator | |
| Andrew Petrotta | .... | property master | |
| Amparo Pineiro | .... | art department assistant | |
| Mark Pollard | .... | graphic artist: New York | |
| Iñaki Rubio | .... | key props buyer | |
| Rodney Sterbenz | .... | on-set dresser: New York | |
| Richard Tenewitz | .... | construction coordinator: New York | |
| Richard Tenewitz | .... | construction coordinator (uncredited) | |
Sound Department | |||
| Mark Appleby | .... | adr mixer | |
| Aitor Berenguer | .... | sound mixer | |
| Larry Blake | .... | sound | |
| Mike Chock | .... | sound editor | |
| Nick Foley | .... | adr mixer | |
| Gabriel Gutiérrez | .... | supervising sound editor | |
| Mike Howells | .... | adr recordist | |
| Hugo Jeffreys | .... | adr recordist | |
| John Kessler | .... | foley artist | |
| John Kessler | .... | foley editor | |
| Mark A. Mangini | .... | sound editor | |
| Mark A. Mangini | .... | sound re-recording mixer | |
| Diego Martinez Rodriguez | .... | dialogue editor | |
| Antonio Mejias | .... | boom operator | |
| Marc Orts | .... | dialogue mixer | |
| Marc Orts | .... | sound | |
| Sam Perry | .... | boom operator: New York | |
| Iñaki Sanchez-Elvira | .... | foley editor | |
| Xavier López Souto | .... | dialogue editor (as Xavier Souto) | |
| Billy Theriot | .... | assistant sound editor | |
| Thomas Varga | .... | sound mixer: New York | |
| Karl Wasserman | .... | sound utility: New York | |
Special Effects by | |||
| César Abades | .... | special effects coordinator | |
| Óscar Abades | .... | special effects technician | |
| Reyes Abades | .... | special effects supervisor | |
| Ángel Alonso | .... | special effects technician | |
| Conor Coughlan | .... | special effects | |
| Werner Hahnlein | .... | special effects foreman | |
| Kevin Hannigan | .... | special effects supervisor | |
| Daniel Rebou | .... | special effects technician | |
| Jose Manuel Rodrigo | .... | special effects technician | |
| Mario Vanillo | .... | special effects foreman | |
| Joaquin Vergara | .... | special effects technician | |
Visual Effects by | |||
| Aníbal del Busto | .... | digital compositor | |
| Eduardo Díaz | .... | digital compositor | |
| Sergio Garcia Abad | .... | computer graphics supervisor | |
| Úrsula García | .... | visual effects producer | |
| Guillermo Orbe | .... | digital compositor | |
| Ramón Ramos | .... | digital compositor | |
| Thorsten Rienth | .... | digital compositor | |
| Rafa Solorzano | .... | visual effects supervisor | |
| Carlos Trijueque | .... | digital compositor | |
| Daniel Trujillo | .... | digital compositor | |
Stunts | |||
| Guiomar Alonso | .... | stunts | |
| Jorge Casares | .... | stunt coordinator | |
| John Cenatiempo | .... | utility stunts | |
| Blaise Corrigan | .... | stunts | |
| Fernando Millán | .... | stunts | |
| Eric Miranda | .... | stunts | |
| Raquel Molinary | .... | stunts | |
| Claudio Pacifico | .... | stunt performer | |
| Antonio Pardo | .... | stunts | |
| Ricardo Rocca | .... | stunts | |
| César Solar | .... | stunts | |
| Cuco Usín | .... | stunts | |
Casting Department | |||
| Patricia Alonso | .... | casting director: Puerto Rico | |
| Sophia M. Costas | .... | extras casting: New York | |
| Venus Kanani | .... | casting associate | |
| David H. Kramer | .... | adr voice casting | |
| Eliseo Ruiz | .... | casting assistant | |
| Paul Schnee | .... | casting associate | |
| Marny Smith | .... | casting assistant | |
| Rodrigo Urbano | .... | casting associate | |
| Francisco Veyro | .... | extras casting: Mexico | |
Costume and Wardrobe Department | |||
| Susan Bakula | .... | costume shop supervisor | |
| Adam Butera | .... | wardrobe assistant | |
| Ana Cuerda | .... | assistant costume designer | |
| James Deanes | .... | costumer | |
| Charo Diego | .... | seamstress | |
| Jill Graves Power | .... | set costumer: New York | |
| Barrett Hong | .... | costumer | |
| Debbie Lucas | .... | seamstress | |
| Thomas M. Smalley | .... | additional wardrobe assistant: New York | |
Editorial Department | |||
| Matt Absher | .... | assistant editor | |
| Corey Bayes | .... | assistant editor | |
| Leigh Anne Bowles | .... | post-production coordinator | |
| Sam Daley | .... | dailies colorist: New York | |
| Jimmy Fusil | .... | digital intermediate producer | |
| Nat Jencks | .... | first assistant editor | |
| David Kirchner | .... | associate editor | |
| Virginia Llera | .... | assistant editor | |
| Tim Stipan | .... | digital intermediate colorist | |
| Michael P. Whipple | .... | digital intermediate engineer | |
| Lee Wimer | .... | color timer | |
| Benjamin Sutor | .... | digital intermediate editor (uncredited) | |
Music Department | |||
| Isobel Griffiths | .... | orchestra contractor | |
Transportation Department | |||
| Ramón Alonso | .... | assistant transportation manager | |
| Patricia de la Uz | .... | transportation coordinator | |
| Ricardo Gallarzo Jr. | .... | transportation captain | |
| Shane Greedy | .... | transportation coordinator | |
| Diego Leco | .... | driver | |
| Fernando Lueches | .... | driver | |
| Alfonso Paredes | .... | driver | |
Thanks | |||
| Cristobal Garcia | .... | thanks | |
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| Che: Part One | The Dancer Upstairs | Diarios de motocicleta | La battaglia di Algeri | Sunshine |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Biography section | IMDb Spain section |
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Ironically the most talked-about American film in the 2008 New York Film Festival is 98% in Spanish. The extra-long film's controversy began at the Cannes Festival. There were love-hate notices, and considerable doubts about commercial prospects. As consolation the star, Benicio Del Toro, got the Best Actor award there. I'm talking about Steven Soderbergh's 'Che,' of course. That's the name it's going by in this version, shown in New York as at Cannes in two 2-hour-plus segments without opening title or end credits. 'Che' is certainly appropriate since Ernesto "Che" Guevara is in almost every scene. Del Toro is impressive, hanging in reliably through thick and thin, from days of glorious victory in part one to months of humiliating defeat in part two, appealing and simpatico in all his varied manifestations, even disguised as a bald graying man to sneak into Bolivia. It's a terrific performance; one wishes it had a better setting.
If you are patient enough to sit through the over four hours, with an intermission between the two sections, there are rewards. There's an authentic feel throughout--fortunately Soderbergh made the decision to film in Spanish (though some of the actors, oddly enough in the English segments especially, are wooden). You get a good outline of what guerrilla warfare, Che style, was like: the teaching, the recruitment of campesinos, the morality, the discipline, the hardship, and the fighting--as well as Che's gradual morphing from company doctor to full-fledged military leader. Use of a new 9-pound 35 mm-quality RED "digital high performance cine camera" that just became available in time for filming enabled DP Peter Andrews and his crew to produce images that are a bit cold, but at times still sing, and are always sharp and smooth.
The film is in two parts--Soderbergh is calling them two "films," and the plan is to release them commercially as such. First is 'The Argentine,' depicting Che's leadership in jungle and town fighting that led up to the fall of Havana in the late 50's, and the second is 'Guerrilla,' and concerns Che's failed effort nearly a decade later in Bolivia to spearhead a revolution, a fruitful mission that led to Guevara's capture and execution in 1967. The second part was to have been the original film and was written first and, I think, shot first. Producer Laura Bickford says that part two is more of a thriller, while part one is more of an action film with big battle scenes. Yes, but both parts have a lot in common--too much--since both spend a large part of their time following the guerrillas through rough country. Guerrilla an unmitigated downer since the Bolivian revolt was doomed from the start. The group of Cubans who tried to lead it didn't get a friendly reception from the Bolivian campesinos, who suspected foreigners, and thought of the Cuban communists as godless rapists. There is a third part, a kind of celebratory black and white interval made up of Che's speech at the United Nations in 1964 and interviews with him at that time, but that is inter-cut in the first segment. The first part also has Fidel and is considerably more upbeat, leading as it does to the victory in Santa Clara in 1959 that led to the fall of the dictatorship of Fulgencio Batista in Cuba.
During 'Guerilla' I kept thinking how this could indeed work as a quality European-style miniseries, which might begin with a shortened version of Walter Salles's 'Motorcycle Diaries' and go on to take us to Guevara's fateful meeting with Fidel in Mexico and enlistment in the 26th of July Movement. There could be much more about his extensive travels and diplomatic missions. This is far from a complete picture of the man, his childhood interest in chess, his lifelong interest in poetry, the books he wrote; even his international fame is only touched on. And what about his harsh, cruel side? Really what Soderbergh is most interested in isn't Che, but revolution, and guerrilla warfare. The lasting impression that the 4+ hours leave is of slogging through woods and jungle with wounded and sick men and women and idealistic dedication to a the cause of ending the tyranny of the rich. Someone mentioned being reminded of Terrence Malick's 'The Tin Red Line,' and yes, the meandering, episodic battle approach is similar; but 'The Thin Red Line' has stronger characters (hardly anybody emerges forcefully besides Che), and it's a really good film. This is an impressive, but unfinished and ill-fated, effort.
This 8-years-gestating, heavily researched labor of love (how many more Ocean's must come to pay for it?) is a vanity project, too long for a regular theatrical release and too short for a miniseries. Radical editing--or major expansion--would have made it into something more successful, and as it is it's a long slog, especially in the second half.
It's clear that this slogging could have been trimmed down, though it's not so clear what form the resulting film would have taken--but with a little bit of luck it might have been quite a good one.