Tribeca Film Festival Review: "Chevolution"

Phil Nugent — Sun, 27 Apr 2008 14:00:00 GMT

Trisha Zitt and Luis Lopez's documentary Chevolution may be the closest thing you'll ever get to see to an episode of Behind the Music or E! True Hollywood Story about an image. The movie stars the face of Ernesto "Che" Guevara, as it was captured in a photograph taken in 1960 that was mass reproduced in poster form on its way to turning into an iconic fashion and advertising image. (One of Guevara's most sympathetic biographers, Jon Lee Anderson, appears in the film sitting at a table with a coffee mug adorned with Che's kisser.) The most fascinating information in the movie is about the man who got this avalanche rolling, Alberto Diaz, popularly known as Korda. Korda had been a high-flying fashion photographer before developing a political conscience during Castro's war against the Batista dictatorship, during which he became a photojournalist vowing to use his skills to serve the revolution. (He wound up serving as Castro's personal photographer.) But he retained the eye and the instincts of a fashion photographer, and that's what made his news photos continue to stand out. They were certainly in evidence in the photo of Che, which was taken when Guevara showed up at the docks after an explosion aboard a Belgian cargo ship delivering a load of munitions. One of Korda's old colleagues says that he doesn't believe that he realized that he'd caught anything special, because he only took two or three shots when he had Guevara in his line of sight, and if he'd thought he had the makings of an important photo, he would have snapped ten or twelve. Maybe so, but Korda must have noticed at some point that he'd gotten a portrait of the camera-shy Guevara looking especially intense and fiery-eyed. Instinctively, he proceeded to crop the other figures out of the shot, leaving something that looks very much like a movie star's head shot.

Korda was unable to sell the picture to the Cuban newspapers in 1960, but years later, it fell into the hands of Giangiacomo Feltrinelli, an Italian who had recognized the potential of easily reproducible, easily disseminated graphic posters as a political medium and who was not above profiting from this insight. Korda was above it; because of his devotion to the ideals of the socialist revolution, he declined to copyright the image or even make a public show of taking credit for it as it was being widely proliferated around the world. Shortly before he died in 2001, Korda did begin to go after companies that exploited Che's image by associating it with products he deemed inappropriate to the point of being degrading, such as cigarettes and booze, an ongoing battle that is now overseen by his daughter. Among the things they regarded as tarnishing to Che's memory is apparently leftist sludge rock, because they also went after Rage Against the Machine for decorating their drum kit with Che's face. The movie includes a wistful Tom Morello recalling how he and the guys used to think of Che as a fifth member of the band until a squad of lawyers showed up to announce that they were there to audition for the role of Yoko Ono.

Chevolution would be a stronger documentary if it included a meatier picture of who Che himself was and what he did and stood for. Most of the people who speak about him in the movie's first half do so in a tone that's respectful bordering on worshipful. That includes Gael Garcia Bernal and Antonio Banderos, both of who have played Che in movies--I guess Omar Sharif had prior commitments--and who speak of him, not unintelligently, as a fellow celebrity. In the movie's final third, which shows how thoroughly the Che image has entered the advertising culture, we do get to hear from a few young campus-conservative types, one of whom rants bitterly about the shallow ignorance of the radical chic and expostulates that if you want to live in a doctrinaire police state that tells you what to think and what you can say and how to live your life, then you should definitely wear Che's face on your T-shirt. (At the screening I attended, one guy in the audience chose this moment to applaud and hollar, "Yeah!" Ah, New York.) One way or another, the movie does demonstrate that the Che image is now so cut off from actual history as to mean whatever the person who wears it thinks it ought to mean, which is one reason it's had a much longer shelf life than Che himself did.

Rock Around the Crock

Peter Smith — Thu, 11 Oct 2007 19:00:00 GMT

David Carr's story in the New York Times — posted yesterday — is a typical trend piece. Entertainment journalism (and, hence, people like me, admittedly) couldn't survive without the occasional story that identifies three or more roughly similar things happening at roughly the same time and concludes that it means something important; still, Carr's piece struck me as particularly off the mark. He concludes that we're in for a renaissance of movies about rock music: he cites documentaries on Tom Petty, plus features like Across The Universe (The Beatles), I'm Not There (Bob Dylan) and break-out hit Once.

What Carr seems to be getting out, without being really aware of it, is how the rock biopic has displaced any other kind of biopic, with VH1's Behind The Music cited as the prototype for every rise-and-fall arc peddled. "We all know these stories from VH1’s Behind the Music, and even though we know what to expect, we still love watching them," weighs in Judd Apatow, apropos of his upcoming spoof Walk Hard. (We do?) The real question is, why are biopics nowadays seemingly all about musicians just old enough to be canonized — where are the artists (it's been years since Pollock), politicians and writers? When Richard Attenborough stopped churning out stuff like Gandhi and Shadowlands, did the genre die? If so, why?

The cynical, probably correct answer, is "because these movies suck." Still, it's a question worth thinking about; boomers are getting older and more secure about canonizing previously disreputable idols. Notice how Carr doesn't cite Musician (a recent documentary about jazz avant-gardist Ken Vandermark), Dig! (the indie-music bible featuring The Brian Jonestown Massacre and The Dandy Warhols), or Metallica: Some Kind Of Monster. It's not a rock renaissance, it's another smug round of cultural gentrification. I smell another think piece coming on; hire me, New York Times! — Vadim Rizov

The Screengrab : behind the music

Tribeca Film Festival Review: "Chevolution"

Rock Around the Crock