American Cinematographer - September 2004 - 65

Kick-Starting a Revolution
Right: As he
experiences

gests a wonderful bond between
Guevara and his family, the film¬

South America

firsthand,

makers wanted

keep the audience
slight emotional distance from
the protagonists. Shooting on Super
16mm, Gautier used long lenses and
placed the camera on a dolly or tri¬
pod. He also kept the sky out of the

Guevara's

perspective
life

on

subtly

begins to shift.
Below: The
crew

practices

"Zen and the art
of

to

at a

motorcycle

frame

maintenance."

and

the

asked

art

and

wardrobe

departments to eliminate
bright colors, creating a neutral
palette.
The

pair's first stop is the
country estate of Guevara's girl¬
friend, Chichina. Gautier wanted
this sequence to

have a more formal

feel, what he describes as "the typical
cliche of
conditions

at an

altitude of 11,500',

Gautier wanted to

give the images

washed-out look, "but with
ful contrast
blacks. I

so we

a

a

beauti¬

wouldn't lose the

pushed the stock IV2 stops
overexposed by two or three
stops. Even with high printing lights,
the resultant image is extremely
bright, with violent contrast and
deep blacks. If you overexpose by,
and

52

September 2004

you'll get a flat, bright
image with ordinary blacks."
Although his encounter with
the two miners proves to be a turn¬
ing point, Guevara's understanding
of the world begins evolving the
say, one stop,

moment

he leaves Buenos Aires.

this

so

dances with Chichina, and Gautier
the scene "in a pretty, golden

cast

light and used smooth camera
moves and classical
exposure." This
tableau

The film opens

in the

friends prepare to

a

there, as the two
embark on their
journey. Although the scene sug¬

high society, where you
close to the people." In
luxurious setting, Guevara

don't feel

contrasts

with

a scene

later

film, when Guevara dances in

working-class setting in southern

Chile. For that

scene,

Gautier mixed



American Cinematographer - September 2004

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