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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 Piñeiro | .... | 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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| News articles | IMDb Biography section | IMDb Spain section |
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Following directly from where the story left off in part one, the second half which sets about telling the inevitable downfall and much more grim side of the man's legacy is exactly as such. In direct contrast to the first feature, part two represents a shift from Che the pride and glory of a revolutionised country, to Chestruggling liberator of a country to which he has no previous ties. The change of setting isn't just aesthetic; from the autumn and spring greys of the woodlands comes a change of tone and heart to the feature, replacing the optimism of the predecessor with a cynical, battered and bruised reality aligned to an all new struggle. Yet, as Che would go on to say himselfsuch a struggle is best told exactly as thata struggle. While Part One certainly helped document that initial surge to power that the revolutionary guerrilla acquired through just that, Part Two takes a much more refined, callous and bleak segment of Che's life and ambition, and gives it an assertive portrayal that is both poignant and tragic in a tangible, easy to grasp manner.
While the movie's tone in some regards does stray off and differ quite drastically from Part One however, there still remains that same documented approach taken a month ago that avoids melodrama and fabrication as much as possible. This somewhat distant, cold approach to telling Che's story and struggle will no doubt turn some viewers off; indeed, I still remain reserved about whether or not the feature itself should have been named after one manif anything, the entirety of Che, taken as a whole, delivers a tale that goes beyond mere biography and instead documents a man's struggle alongside those who helped carry him along the way. By no means does Soderbergh try to paint a humanistic portrait here akin to what Hirschbiegel did with Der Untergang half a decade ago (excuse the ironic contrast); Che is a slow moving, reserved and meditative approach to telling a history lesson that just happens to be narrated by the one man who arguably- conducted the whole thing.
Yet by moving from the lush green landscapes of Cuba and retreating to the bleak, decaying backdrop of Bolivia for Part Two, the story does inevitably take on a distinctly contrasting tone that doesn't feel too disjointed from its predecessor, but does enough to give it its own reference points. Here, the basic structure of Part One is echoed backthere's the initial struggle, the battles, the fallen comrades and the recruiting of those to replace them, all the while we see some glimpses of the man behind the movement. Yet, as anyone with the vaguest idea of the actual history behind the feature will know, Part Two is destined to end on a much more underwhelming, and disquieting note. This difference, in combination with the similarities to Part One, make a compelling and memorable whole; by all means, both could be digested one their own (and kudos to Soderbergh for achieving as such) and enjoyed as they are, but taken as one statement, Che delivers exactly what it sets out to achieve.
Indeed, everything that made Part One the treat that it was one month prior is still evident here from the subtle yet engrossing performances from the central cast to the slow building, realistically structured combat scenesthe drama inherent to the characters on screen is just as vague and indiscernible, but with a feature such as this, Part Two once again proves that avoiding such elements don't necessarily hurt a film when there is enough plot and reflection on other elements to keep the viewer engaged. In fact, upon writing this review I was at odds as to whether or not to simply add a paragraph or two to my initial review for Part One, and title the review as a whole, yet I felt that to do so would only serve to disillusion those who may sit down to watch the entirety of both films consecutively.
With that said, I cannot rightfully decree whether or not Che holds up to the task of engaging an audience for its sprawling four hour plus runtime, but upon viewing both segments I can at least attest to each part's ability to do just that. With a reflective, intricate screenplay combined with endlessly mesmerising photography and nuanced performances that do justice to the movie's characters without drawing attention to themselves, Che Part Two is every bit as compelling and rewarding as its predecessor, but this time with a tragic but uplifting, reaffirming conclusion fit for the history pages of film.
- A review by Jamie Robert Ward (http://www.invocus.net)