The story follows a 15-year-old Manuel Corvalán, who decides to leave his upper-class family and be disinherited by his father to join the newly formed Army of the Andes, commanded by the General José de San Martín.
Rodrigo De la Serna,
Víctor Hugo Carrizo,
Young writer Sal Paradise has his life shaken by the arrival of free-spirited Dean Moriarty and his girl, Marylou. As they travel across the country, they encounter a mix of people who each impact their journey indelibly.
In 1952, twenty-three year old medical student Ernesto Guevara de la Serna - Fuser to his friends and later better known as 'Ernesto Che Guevara' - one semester away from graduation, decides to postpone his last semester to accompany his twenty-nine year old biochemist friend 'Alberto Granado' - Mial to his friends - on his four month, 8,000 km long dream motorcycle trip throughout South America starting from their home in Buenos Aires. Their quest is to see things they've only read about in books about the continent on which they live, and to finish that quest on Alberto's thirtieth birthday on the other side of the continent in the Guajira Peninsula in Venezuela. Not all on this trip goes according to their rough plan due to a broken down motorbike, a continual lack of money (they often stretching the truth to gain the favor of a variety of strangers to help them), arguments between the two in their frequent isolation solely with each other, their raging libidos which sometimes get ...Written by
"Al otro lado del río", by Uruguayan composer Jorge Drexler became the second song in a language other than English to win an Oscar. (The first was "Ta paidia toy Peiraia" (Children of Piraeus) by Greek composer Manos Hatzidakis from the film Never on Sunday (1960)). Producers asked Drexler, who wrote and recorded the song for the film, not to perform it during the Oscar ceremony, citing "commercial reasons" (he's not famous). Antonio Banderas and Carlos Santana performed the song instead. When Drexler went to the podium to accept his Oscar, he sang about 30 seconds of the song a capella, instead of giving a speech. See more »
At the end of the movie, when Che is at the airport, a yellow GMC pickup drives by. The pickup has a 1-piece windshield, which GMC introduced after 1952. See more »
Fuser, here's my idea; I'll marry an Inca descendant. We'll start an indigenous party under these conditions: we'd encourage the people to vote, reactivate Tupac Amaru's revolution, the Indo-American revolution, Fuser. How's that sound?
Ernesto Guevara de la Serna:
A revolution without guns? It would never work.
See more »
The real Alberto appears at the very end of the film just before the credits. See more »
A Politically Thoughtful and Pretty Grand Tour of South America
"The Motorcycle Diaries" (Diarios de motocicleta) works more effectively as a bio-pic than on its own as a road movie.
The scenery throughout Latin America is beautiful and the two leads are very affecting, especially Gael García Bernal as Ernesto Guevara de la Serna when "Che" is still nascent.
But it's surprising how undramatic what happens that turns a sweet, middle-class med student into a revolutionary. He was already a liberal who wanted to help leprosy patients, so what happens isn't a complete turn-around -- even when they are broke, they can wire home for more money. Rather it sets off an internal thoughtfulness that is difficult to catch on film.
Mostly just leaving his sheltered life, particularly being dropped by his wealthy girlfriend, and seeing the continent, especially his first exposure to the indigenous peoples who suffer the most in every South American country even while tourists are visiting the ruins of their ancestors, becomes the nexus of his pan-continental political ideals.
He is mostly an observer and inconsistent protester of injustice, not a victim -- it's startling that his culminating noble sojourn at the leper colony, where he can put his skills and indivisible warmth to specific good, is only for three weeks.
So there's no eye-opening "Grapes of Wrath" conflict, though he is always contrasted with his carefree companion, Alberto Granado. Their close camaraderie is well-captured and Ernesto has a profound impact on him, as we learn in a final biographical summary.
It is amusing that Ernesto contradicts the stereotype of the Latin male sensualist and is a terrible dancer to the lovely soundtrack.
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