IMAGINE CHE as a member of the chorus. Steven Soderbergh’s two-part bio-epic, based on Guevara’s writing, is a sober, ascetic, direct and entirely un-mythologized portrait of a legend, his life and times. Part One: The Argentine, concentrates on the Cuban revolution, depicting the formation of Che’s guerrilla persona. Part Two: Guerrilla chronicles his political commitment, delving into the thwarted Bolivian revolution that saw his capture and execution. Benicio del Toro gives a brilliant performance as the Argentinean physician-turned revolutionary.

Based on Guevara’s memoir, Reminiscences of the Cuban Revolutionary War, the first part weaves together three stages of evolution: the young doctor exiled in Mexico, where his encounter with human misery galvanizes his decision to join Castro; in Cuba as guerrilla leader whose disciplinary ruthlessness and tactical brilliance are instrumental to the success of the revolution; and in New York City, as head of the Cuban delegation to the United Nations.

Also acting as director of photography, Soderbergh uses colour and image quality to contrast the different aspects of Che’s experience. While rich saturated colours depict the revolution in Cuba, subdued and softened bluish hues dominate the brief scenes in Mexico. Conversely, the post-revolutionary scenes in New York City, shot in grainy black and white, add a documentary realism. Yet unlike films such as Oliver Stone’s JFK in which the “archival” footage works to grant historical authenticity to Stone’s argument, Soderbergh’s cinematography immediately betrays its vintage authenticity suggesting an altogether different purpose.

Part Two follows Che in his attempts to engineer a revolution in Bolivia. Perhaps due to differences in landscape and climate, the faded colour and muted contrasts depict a much bleaker vision, which beautifully harmonize with Guevara’s harsh ethos: “You must live as if you are already dead.” Unwavering commitment, rather than ideological spirit, seems to be the central theme. Even though Guevara’s guerrillas are pitted against the powerful apparatus of the state, Soderbergh resists the urge to shine an idolizing spotlight on his subject. The film transcends traditional depictions of villains and heroes. Staunchly unsentimental, Che is portrayed as part of a group, quietly suffering through his own weaknesses. If we come to judge or sympathize with his character, we do so based on his actions and not on how the director spins his image.

This ambitious film resists spectacle entirely. Soderbergh succeeds in maintaining enough distance to let the story evolve through its own dynamic, giving as much room as possible to let the cast narrate the life of Ernesto ‘Che’ Guevara – as just one more member of the revolutionary chorus. For the audience a difficulty remains: whether or not to accept such a resolutely non-judgmental depiction of a historically controversial figure.

Che is currently playing at Ex-Centris 3536 boul. Saint-Laurent, Montréal, www.ex-centris.com; Wed – Thu 1:15 & 6:30; AMC Forum 22 2313 St. Catherine St. West, Montréal, (514) 904-1250; Wed – Thu 1:30 & 7:00