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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) | |
Produced by | |||
| Belén Atienza | .... | executive producer | |
| Álvaro Augustín | .... | executive producer | |
| Pilar Benito | .... | associate producer | |
| Laura Bickford | .... | producer | |
| Frederic W. Brost | .... | executive producer | |
| Brahim Chioua | .... | executive producer | |
| Benicio Del Toro | .... | producer | |
| Philip Elway | .... | executive producer | |
| Gerardo Guerra | .... | line producer: Bolivia (as Gerardo Guerra Velasco) | |
| Gregory Jacobs | .... | executive producer | |
| Álvaro Longoria | .... | executive producer | |
| Vincent Maraval | .... | executive producer | |
| Silvana Paternostro | .... | associate producer | |
| Cristina Zumárraga | .... | line producer | |
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 | |||
| Marcelo Antezana | .... | assistant makeup artist: Bolivia | |
| Leni Ballon | .... | assistant makeup artist: Bolivia (as Leni Ballón) | |
| Chicha Blanco | .... | makeup artist | |
| Leonor Cartagena | .... | assistant hair stylist: Bolivia | |
| Jorge De La Reza | .... | assistant hair stylist: Bolivia | |
| Oscar del Monte | .... | special makeup effects supervisor | |
| Nacho Díaz | .... | special makeup effects supervisor | |
| Silvia Grande | .... | hair stylist | |
| Ana López Puigcerver | .... | key makeup artist | |
| Belén López Puigcerver | .... | key hair stylist | |
| Carolina Madera | .... | makeup artist | |
| Francisco Martínez | .... | hair stylist | |
| Kantay Melgarejo | .... | assistant makeup artist: Bolivia | |
| Irene Navarro | .... | hair stylist | |
| Gema Peña Garro | .... | makeup artist (as Gema Peña) | |
| Sergio Pérez | .... | hair stylist | |
| Irene Rodríguez | .... | makeup artist | |
| Maria José Rodríguez | .... | assistant hair stylist: Bolivia | |
| Gail Rowell-Ryan | .... | hair stylist: Mr. Del Toror (as Gail Ryan) | |
| Martín Sanabria | .... | makeup artist (as Martín Sanabría) | |
| Alicia Teruel | .... | assistant hair stylist | |
| Sonia Teruel | .... | hair stylist | |
| Ana Urosa | .... | makeup artist | |
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 | |
| Yvette Gurza | .... | second assistant director: Bolivia | |
| Gregory Jacobs | .... | first assistant director | |
| Brian Kenyon | .... | additional second assistant director: New York | |
| Amy Lauritsen | .... | second assistant director | |
| Pedro Lazaga | .... | first assistant director | |
| Jorge Arturo Lora | .... | additional assistant director: Bolivia | |
| Luisfer Machi | .... | third 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 | |
| Carlos 'Carly' Antunez | .... | set dresser | |
| Eddie Antunez | .... | set dresser | |
| Paulo Aranda | .... | props: Bolivia | |
| Ivan Bejarano | .... | props | |
| Elena Calvo | .... | props assistant | |
| Gary Cergol | .... | art department coordinator | |
| Rick Chavez | .... | assistant property master | |
| Abariss Culjak | .... | set dresser | |
| Boris Fernández | .... | set dressing/props production assistant | |
| Derrick Kardos | .... | additional graphic designer: props | |
| Laura Laviña | .... | assistant property master | |
| César Morón | .... | art coordinator | |
| José Luis Moya | .... | construction coordinator: Spain | |
| Laura Musso | .... | set decorating department assistant | |
| Laura Musso | .... | set decorator assistant | |
| Angela Nahum | .... | assistant decorator | |
| Michael Panevics | .... | armourer | |
| 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 | |
| Oscar Troitiño | .... | stand-by painter | |
| Richard Tenewitz | .... | construction coordinator (uncredited) | |
Special Effects by | |||
| César Abades | .... | special effects coordinator | |
| César Abades | .... | special effects technician | |
| Reyes Abades | .... | special effects supervisor | |
| Óscar Abades | .... | special effects technician | |
| Ángel Alonso | .... | special effects technician | |
| Conor Coughlan | .... | special effects | |
| Werner Hahnlein | .... | special effects foreman | |
| Kevin Hannigan | .... | special effects supervisor | |
| Jonn Herzberger | .... | special effects technician | |
| Juan Ramón Molina | .... | special effects technician | |
| David A. Poole | .... | special effects lead foreman (as David Poole) | |
| Daniel Reboul | .... | special effects technician | |
| José Manuel Rodrigo | .... | special effects technician | |
| Tomás Urbán | .... | special effects technician | |
| Mario Vanillo | .... | special effects foreman | |
| Joaquín Vergara | .... | special effects technician | |
| Chris L. Ward | .... | special effects technician | |
Visual Effects by | |||
| Ignacio Luis de Redin | .... | 3D artist | |
| Aníbal del Busto | .... | digital compositor | |
| Eduardo Díaz | .... | digital compositor | |
| Sergio Garcia Abad | .... | computer graphics supervisor (as Sergio Garcia) | |
| Úrsula García | .... | visual effects producer | |
| Ñaña González | .... | senior compositor | |
| Pablo Hernández-Meléndez | .... | senior 3D artist | |
| Inma Nadela | .... | senior compositor | |
| Guillermo Orbe | .... | compositing supervisor | |
| Guillermo Orbe | .... | digital compositor | |
| Ramón Ramos | .... | digital compositor | |
| Thorsten Rienth | .... | digital compositor | |
| Rubén Sanz | .... | visual effects line producer | |
| Rafa Solorzano | .... | visual effects supervisor | |
| Carlos Trijueque | .... | digital compositor | |
| Daniel Trujillo | .... | digital compositor | |
Stunts | |||
| G.A. Aguilar | .... | stunt coordinator (as George Aguilar) | |
| Guiomar Alonso | .... | stunts | |
| Antonio Arnalte | .... | stunts | |
| Jordi Casares | .... | stunt coordinator | |
| John Cenatiempo | .... | utility stunts | |
| Blaise Corrigan | .... | stunts | |
| Fernando Millán | .... | stunts | |
| Eric Miranda | .... | stunts | |
| Raquel Molinary | .... | stunts | |
| Eduardo Moratilla | .... | stunt performer | |
| Kai Nuuhiwa | .... | stunts | |
| Claudio Pacifico | .... | stunt performer | |
| Antonio Pardo | .... | stunts | |
| Ricardo Rocca | .... | stunts | |
| César Solar | .... | stunts | |
| Cuco Usín | .... | stunts | |
Camera and Electrical Department | |||
| K.C. Bailey | .... | still photographer: New York | |
| Gregg de Domenico | .... | second assistant camera: New York City | |
| Sergio Delgado | .... | first assistant camera | |
| Álvaro García | .... | second assistant camera: "a" camera | |
| Ángel Gómez Alcoholado | .... | key grip | |
| Álvaro Gómez | .... | grip | |
| Teresa Isasi | .... | still photographer | |
| Gary Jay | .... | camera operator | |
| Rodrigo López | .... | second assistant camera: b camera | |
| Jose Martín Rosete | .... | video assist | |
| Adam Miller | .... | second assistant camera: New York | |
| Juan Pablo Ojeda | .... | assistant camera | |
| Roxanna Santiago | .... | camera intern | |
| Miguel Ángel Viñas | .... | camera intern | |
| Carlos Zayas | .... | epk videographer | |
Casting Department | |||
| Patricia Alonso | .... | casting director: Puerto Rico | |
| Beatriz Bartolomé | .... | casting assistant | |
| Sophia M. Costas | .... | extras casting: New York | |
| Vivi Cuenca | .... | casting assistant: Spain | |
| Genaro Hernandez | .... | casting assistant | |
| 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 | |
| Ali Merhi | .... | casting associate (uncredited) | |
Costume and Wardrobe Department | |||
| Adam Butera | .... | wardrobe assistant | |
| Regina Calvo | .... | costume 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 | |
| Leticia Palomares | .... | aging artist assistant | |
| Pepo Ruiz Dorado | .... | aging artist | |
| Thomas M. Smalley | .... | additional wardrobe assistant: New York | |
Editorial Department | |||
| Matt Absher | .... | assistant editor | |
| Corey Bayes | .... | assistant editor | |
| Leigh Anne Bowles | .... | post-production coordinator | |
| Jara Bustos | .... | editorial runner | |
| Sam Daley | .... | dailies colorist: New York | |
| Pascale Dillemann | .... | post production assistant | |
| Yoya Fernández | .... | post-production assistant | |
| Jimmy Fusil | .... | digital intermediate producer | |
| Tansy Huws | .... | post-production assistant | |
| Nat Jencks | .... | digital workflow | |
| Nat Jencks | .... | first assistant editor | |
| Barbara Jean Kearney | .... | digital intermediate producer | |
| David Kirchner | .... | associate editor | |
| Virginia Llera | .... | assistant editor | |
| Daniel Silverman | .... | digital imaging supervisor | |
| Tim Stipan | .... | digital intermediate colorist | |
| Kirsten Stoffa | .... | assistant editor | |
| Michael P. Whipple | .... | digital intermediate engineer | |
| Lee Wimer | .... | color timer | |
| Benjamin Sutor | .... | digital intermediate editor (uncredited) | |
Music Department | |||
| Diego Balduque | .... | assistant music engineer | |
| Javier Casado | .... | additional music arranger | |
| Javier Casado | .... | music programmer | |
| David Cerrejón | .... | assistant to composer | |
| David Cerrejón | .... | music librarian | |
| Chris Clad | .... | violin | |
| José Luis Crespo | .... | score mixer | |
| José Luis Crespo | .... | score recordist | |
| Fiona Cruickshank | .... | assistant music engineer | |
| Ana Eusa | .... | music executive producer | |
| Isobel Griffiths | .... | orchestra contractor | |
| Alberto Iglesias | .... | conductor | |
| Jake Jackson | .... | assistant music engineer | |
| Jorge Magaz | .... | additional music arranger | |
| Jorge Magaz | .... | music programmer | |
| Javier Martín | .... | music executive producer | |
| Charlotte Matthews | .... | assistant orchestral contractor (as Charlotte Mathews) | |
| Perry Montague Mason | .... | orchestra leader (as Perry Montague-Mason) | |
| Joaquín Pizarro | .... | assistant music engineer | |
| Raúl Quilez | .... | additional score recordist | |
| Rafael Soler | .... | assistant music engineer | |
Transportation Department | |||
| Ramón Alonso | .... | assistant transportation manager | |
| Jr. Noel Caba | .... | driver | |
| Patricia de la Uz | .... | transportation coordinator | |
| Ricardo Gallarzo Jr. | .... | transportation captain | |
| Luis Gamazo | .... | transportation | |
| Angel L. Lopez Garcia | .... | Steven Soderbergh driver | |
| Shane Greedy | .... | transportation coordinator | |
| Diego Leco | .... | driver | |
| Fernando Lueches | .... | driver | |
| Gonzalo Mendiburu | .... | driver | |
| Manuel Paredes Murillo | .... | driver: cast | |
| Alfonso Paredes | .... | driver | |
| Dave Williams | .... | wardrobe truck driver | |
Thanks | |||
| Cristóbal García | .... | thanks | |
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| Che: Part One | Che Guevara | Defiance | The Battle of Algiers | The Baader Meinhof Complex |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Biography section | IMDb Spain section |
Neatly skipping over everything from the coup in Cuba to his undercover entry into Bolivia, part two of Soderbergh's portrayal of Che Guevara is that of the tragic hero. As with Che Part One, this rather rambling guerrilla warfare escapade through the colourful mountains of Bolivia is probably destined to disappoint more people than it will satisfy, so why was the film (and particularly Benicio Del Toro's performance) so loudly praised at Cannes?
James Rocchi, for instance, called it, a work of art that's, "not just the story of a revolutionary," but, "a revolution in and of itself." The Guardian's Peter Bradshaw called it a "flawed masterpiece." I return to my original contention for Part One that the value lies particularly in depiction of a hero figure. And in an age when there is a surfeit of poor hero role-models, could it not be salutary to see a strongly honourable one, even if stripped of some of the less endearing episodes of his life? This is the psychological hero enshrined by the great Scottish essayist, Thomas Carlyle, in his seminal book, Heroes and Hero Worship. Heroes can be real or imaginary (or somewhere in-between). But should genuinely inspire us to higher goals, a higher purpose. Compare this with the unrealistic 'heroes' of standard Western storytelling: where a person undergoes trials and tribulations before obtaining a barely-believable reward usually everlasting love or material wealth as if by divine studio intervention. Real heroes have an excess of moral courage not Lost Ark dare-devilishness or James Bond super-toys. They rise, and empower others to rise, to be the best that they can be. In Part One, Che succeeds. In Part Two, he fails. It is not for want of moral courage but since a) not all good plans can succeed and b) being human, mistakes are inevitable.
Guevara's intellectual clarity is flawed when he equates conditions that justify armed struggle with conditions that make that armed struggle able to succeed. It is a serious miscalculation.
High in the mountains from La Paz, the colours are breathtaking. There is an air of mise-en-scene authenticity that was occasionally lacking in Che - Part One (The U.S. would not allow Soderbergh to film in Cuba.) Visual treats are heightened by maximising natural light and the extreme flexibility and realism offered with groundbreaking RED cameras. This is a high performance digital cine camera with the quality of 35mm film and the convenience of pure digital. Designed for flexibility and functionality, the package weighs a mere 9 lbs. "Shooting with RED is like hearing the Beatles for the first time," says Soderbergh. "RED sees the way I see . . . so organic, so beautifully attuned to that most natural of phenomena light." If Che had stopped with the successful Cuban revolution it would have enshrouded him with an almost mystical invincibility. That he fails in Bolivia shows not only that he has human limitations but that it is his moral virtues that are remembered, not the political triumph. Critics will say and with some justification - that his armed struggle inspired much less noble characters to achieve tin-pot dictatorships. His development of guerrilla fighting tactics are not good or bad in themselves (and have since been used for both).
But for all its praiseworthiness, the film often seems to lack dramatic and narrative tension. We stumble from one escapade to another, knowing that he will eventually meet his death. I found myself glancing at my watch and thinking it could have been shorter. But the work that has gone into this interviews with people from all sides and even getting one of Guevara's ex-comrades to coach actors on the minutiae of the Bolivian operations make the film a commendable achievement. It might not be top-flight entertainment, but it demonstrates integrity in documenting a significant slice of history.
There is also another very important point in the Che 'hero' figure here. It's about failure. That if you try your utmost, even if you fail, your effort will not have been in vain because it may give others hope and moral courage. One could cynically call it a 'martyr' complex, and it is found, of course, in many religious figures as well. But Che does not 'sacrifice' himself. He does what he does best, to the best of his not inconsiderate ability, and so provides an example. Success or failure in any particular instance become mere details.
With the U.S.'s longstanding and illegal blockade of Cuba (all in the name of 'freedom'), I am tempted to write that Che Parts 1 & 2 are too good to be wasted on the U.S. But that would be to invite a contention that the film has sought so earnestly to avoid. One must hope that many viewers will have the skill to view Che without politics and the bias that inevitably engenders. Whatever its faults, it rehabilitates Soderbergh from the populist nonsense of Oceans 11.
But if you haven't heard of Che Guevara or seen Part One, or if you can't get past the phrase 'murderous Marxist' without frothing at the mouth, I might struggle to imagine what you would get from this film. The same can be said for many who have, and can.