The Motorcycle Diaries
- Film Study -
Dir. Walter Salles
Adapted from book of the same
name by Ernesto ‘Che’ Guevara.
SCENE: Opening Sequence
► Functions
as an Establishing Sequence,
in which we are introduced to the two
main characters – Ernesto and Alberto
- through short biographies, as well as
the journey that they are about to
depart on.
► Importantly, the narrator and
protagonist in Ernesto is clearly
established.
•First shot is a close-up of Ernesto, who we have
already heard narrating during the opening titles
in a non-diagetic voice-over.
•Ernesto is packing for his trip, including books,
medical supplies, and asthma equipment. This is a
direct contrast to Alberto, who is only packing
clothes and singing about good times.
•An high angle shot is used to
show Alberto highlighting
their journey on a map of
South America.
•Long shot of Alberto and
Ernesto departing, as if
from the point-of-view of
Ernesto’s family
•The lighting is bright
reflecting the tone.
•The motorcyclists
comically avoid an accident
as Ernesto’s family
anxiously watches
VISITING CHINCHINA
SCENE: Ernesto & Chinchina Dance
•Bird’s eye long panning shot of Chinchina’s family residence. The emphasis
is on the opulence and wealth of her family as highlighted by their mansion
surrounded by a well-manicured lawn.
•The motorcycle is dwarfed
by this wealth.
•Text is provided by Salles that identifies the
location, date and distance travelled so far. This
will re-occur throughout the movie.
•Mid-shot of Ernesto, isolated
and appearing serious,
watching people dance from
the periphery. He is not
wearing a suit like most of the
other male characters.
•In contrast, Alberto is a confident
dancer.
•The diagetic music is positive and
energetic.
•The interior lighting is washed with
gold reflecting the mood.
•A long shot of Chinchina’s house.
•Ernesto’s tent is foregrounded and
seems impoverished in comparison to
the mansion.
SCENE: Ernesto visits Mrs Rosa
(Significantly, this occurs at the same time
that ‘The Mighty One’ breaks
down for the final time.)
•Lighting is much
darker, reflecting the
more sombre tone of
this scene.
•Non-diagetic sound –
Ernesto narrates a
letter to his mother
about his experience.
•Ernesto’s voice-over
narration is the only nondiagetic sound.
•He discusses what a
significant and confronting
event this is for him, visiting
this dying woman.
•Diagetic sound – Ernesto is gently
talking to Mrs Rosa
•His connection to the old
woman is established through
his physical care, and
description of her similar
respiratory problems to his
own.
Close-ups of Ernesto’s
face are used to highlight
his sadness and
compassion at the fate of
Mrs Rosa.
SCENE: Meeting the Communist Couple
Importantly three events have
happened before this meeting:
1. Ernesto treats Mrs Rosa.
2. ‘The Mighty One’ is abandoned.
3. Ernesto and Chinchina break-up.
These three events change Ernesto and the film takes
on a much more serious tone from now on.
•The inhospitable, isolated
desert in which Alberto
and Ernesto meet the
couple on the way to the
mine is highlighted
through a mid-shot of
Ernesto, that draws
attention to the terrain
behind him.
•Mid-shots of Ernesto and Alberto highlight
their unkempt appearance, as their faces are
dirty, and are unshaven.
•Again, dark lighting
and shadows is used
to create a serious
tone. The only light is
that of the campfire
reflected on the faces
of the group.
•Ernesto and
Alberto’s appearance
is similar to the
communist couple’s.
The link between
them is established
by the sharing of
blankets and food,
despite the obvious
background
differences.
•Non-diagetic voiceover
by Ernesto commenting
on the importance of
this event.
•The scene ends with a
long shot of the group
around the fire.
•Symbolising their bond
against the darkness.
VISITING THE LEPROSY COLONY
SCENE: Ernesto’s 24th Birthday Party
& Symbolic Swim
•The river acts as a symbolic divide in Ernesto’s
eyes between the sick and healthy. A long shot of
Ernesto and Alberto crossing in the boat,
establishes the distance between the two colonies.
•Ernesto and Alberto refuse to wear rubber
gloves and are willing to touch the patients.
•Close-up of the handshake highlights this.
•Camera cuts to a shot of the patients
commenting on what “gentlemen” Alberto
and Ernesto are.
•Long shot of Ernesto
through the window.
Again he is isolated at
a party. The window
acting a metaphorical
barrier.
•The party has similar
lighting and music to
the one at Chinchina’s
earlier.
•The colony for the healthy is well-lit
up with substantial buildings.
•In contrast, the leprosy
colony is ramshackle and
has little electric lighting.
•Ernesto symbolically and
impulsively swims the river despite
his asthma and the physical
challenge
•He has just made a political
speech at the party about all of
South America being really just one
race, and this swim is his first
action based on these words.
LANDSCAPE
Long shots that pan across landscape is an
integral part of Walter Salles’s storytelling
in the film, The Motorcycle Diaries.
Examine shots 1 to 6 from various stages in
the narrative and answer these questions.
1. What are some of the common features of
these shots?
2. How does Salles’s use landscape as a motif
(symbol) in his film?
3. What does this stylistic choice by Salles add to
your understanding of the film?
SHOT 1
SHOT 2
SHOT 3
SHOT 4
SHOT 5
SHOT 6
SHOT 7
SHOT 8