Synopsis:
Two films concerning social life in Central and South America are collected here: THE MOTORCYCLE DIARIES and TRAFFIC.
In 1952, a young medical student and a biochemist from Argentina set off on...
Two films concerning social life in Central and South America are collected here: THE MOTORCYCLE DIARIES and TRAFFIC.
In 1952, a young medical student and a biochemist from Argentina set off on a road trip across South America. As they straddled their beaten up motorcycle, the men talked in awed tones of the sights they were about to experience. The record of their trip may have disappeared into the ether if one of the riders departing on that fateful day hadn't been the future insurrectionary figurehead of the Cuban revolution, Ernesto "Che" Guevara (played here by Gael Garcia Bernal). The young Che's companion on the trip was his best friend, Alberto Granado (Rodrigo de la Serna), with their simple goals being to enjoy themselves, and meet some girls along the way. As the trip unfolds at the behest of their spluttering motorcycle, the boys discover more about themselves than they ever imagined possible. Ernesto clings tightly to his ideals throughout, and delights in the opportunity to put them into practice. His refusal to spend the $20 provided by his girlfriend, Chichina Ferreyra (Mia Maestro), constantly angers his travelling companion as the two succumb to pangs of hunger. Ernesto's charitable nature comes to the fore when he reveals that he gave the money to a pair of out-of-work illegal immigrants. The trip winds down as the friends offer their medical expertise to a leper colony in Peru, with the duo's youthful folly acquiescing to adulthood, and the dawning realization of where they should head in life. Based on the books THE MOTORCYCLE DIARIES (by Guevara) and TRAVELLING WITH CHE GUEVARA (by Granado), director Walter Salles (CENTRAL STATION) pulls some highly accomplished performances from his two leads. The South American landscape is breathtakingly captured on camera, with Salles vividly reproducing a continent beleaguered by poverty and disease, but containing a population in possession of an unshakeable sense of optimism, as beautifully personified by Guevara and Granado.
Steven Soderbergh followed up his critical and commercial smash ERIN BROCKOVICH with TRAFFIC, a wildly exhilarating exploration of the complex, multilayered international drug problem. The film tells three seemingly disparate stories that loosely intersect and overlap, unfurling at a frantic, relentless pace. In the first, a well-intentioned Mexican police officer, Javier Rodriguez Rodriguez (Benicio Del Toro), comes face-to-face with the hypocrisy and hopelessness of his situation after he learns that his superior, General Salazar (Tomas Milian), isn't the law-abiding officer he claims to be. In the second, Robert Wakefield (Michael Douglas), a conservative Supreme Court judge from Ohio, takes a position as the president's new drug czar. What he doesn't realize is that his teenage daughter, Caroline (Erika Christensen), is falling prey to the dangerous narcotics that he has been hired to eradicate. In the third section, federal agents Montel Gordon (Don Cheadle) and Ray Castro (Luis Guzmán) are baby-sitting Eduardo Ruiz (Miguel Ferrer), a drug smuggler who is about to testify against the wealthy Carlos Ayala (Steven Bauer). When Ayala's pregnant wife, Helena (Catherine Zeta-Jones), learns of her husband's illegal activities, she takes her family's future into her own hands. Soderbergh's bold decision to photograph the film using three strikingly different visual schemes adds even greater punch to TRAFFIC, which stands firmly as one of 2000's most stirring motion picture events.
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