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<FONT FACE="Verdana"><B>This week at the Kenworthy Performing Arts Centre-<BR>
</B><BR>
<FONT COLOR="#800000"><H2>The Motorcycle Diaries (R)<BR>
</H2></FONT><B>Friday, January 21<BR>
7:00 PM<BR>
Saturday & Sunday, January 22 & 23 <BR>
4:15 PM and 7:00 PM<BR>
</B>$5 adults <BR>
KFS passes accepted for Sunday movies<BR>
<B>(See Review below)<BR>
* * *<BR>
<BR>
Also in January - <BR>
</B><BR>
<B>Stage Beauty (R)<BR>
</B>Friday, January 28<BR>
7:00PM<BR>
Saturday & Sunday, January 29 & 30<BR>
4:30 and 7:00PM<BR>
<B>* * *<BR>
</B><BR>
<B>February 2005 at the Kenworthy Performing Arts Centre . . .<BR>
</B><BR>
<B>Being Julia (R)<BR>
</B>Feb 4 at 7:00 PM<BR>
Feb 5 - 6 at 4:30 and 7:00 PM<BR>
<BR>
<B>Yes Men (NR)<BR>
</B>Feb 11 at 7PM<BR>
Feb 12 – 13 at 5:00 and 7:00 PM<BR>
<BR>
<B>House of Flying Daggers (R)<BR>
</B>Feb 18 at 7PM<BR>
Feb 19 – 20 at 4:15 and 7:00 PM<BR>
<BR>
UI Architecture Dept presents<BR>
<B>Will Bruder lecture<BR>
</B>February 25 at 5:00 PM<BR>
FREE<BR>
<BR>
<B>Dig (NR)<BR>
</B>Feb 26 at 7:00 PM<BR>
Feb 27 at 4:15 and 7:00 PM<BR>
<BR>
<B>Regular Movie prices</B>: $5 adults, $2 children 12 and younger. <BR>
KFS passes accepted for Sunday movies<BR>
<BR>
508 S. Main Street, Moscow, Idaho<BR>
For more information, call 208-882-4127 or visit www.kenworthy.org<BR>
<B>* * *<BR>
This week’s review-<BR>
<BR>
<FONT COLOR="#800000"><FONT SIZE="5">THE MOTORCYCLE DIARIES</FONT></FONT> <BR>
</B><BR>
Directed by Walter Salles; written (in Spanish, with English subtitles) by José Rivera, based on ''The Motorcycle Diaries'' by Ernesto Che Guevara and ''With Che Through Latin America'' by Alberto Granado<BR>
Running time: 2 hours, 6 minutes. <BR>
''The Motorcycle Diaries'' is rated R (Under 17 requires accompanying parent or adult guardian) for strong language and sexual references. <BR>
<BR>
<B><I><U>As reviewed by A. O. Scott writing for the New York Times<BR>
</U></I></B><BR>
In the spring of 1952, two young men set out by motorcycle on an ambitious, footloose journey that they hoped would carry them from Buenos Aires up the spine of Chile, across the Andes and into the Peruvian Amazon. Their road trip, however inspired and audacious it might have been, could have faded into personal memory and family lore, even though both travelers produced written accounts of their adventures. <BR>
<BR>
The older, a 29-year-old biochemist named Alberto Granado, is still alive and appears at the very end of ''The Motorcycle Diaries,'' Walter Salles's stirring and warm-hearted reconstruction of that long-ago voyage. Granado's companion was a 23-year-old medical student named Ernesto Guevara de la Serna, whose subsequent career as a political idol, revolutionary martyr and T-shirt icon -- Che! -- reflects a charismatic, mysterious glow onto his early life. <BR>
<BR>
''Is it possible to be nostalgic for a world you never knew?'' Ernesto wonders as he contemplates Inca ruins in the Peruvian highlands. Mr. Salles's film, as ardent and serious a quest as Ernesto's turned out to be, poses a similar question. In making their movie, the cast and crew retraced the route of Granado and Guevara three times, trying to connect not only with the varied, rugged landscape of South America, but also with the hopes and confusions of an earlier time: an era before the Cuban revolution, before the military coups and dirty wars of the 1960's and 70's, before the democratic resurgence and economic catastrophes that followed. <BR>
<BR>
The filmmakers are not so naïve as to suppose that the old days were simpler or more innocent than the present. The movie's feeling of freshness and possibility comes from the wide-eyed intelligence of its heroes. But one reason to explore the past is to try to rediscover an elusive sense of forgotten possibility, and in Mr. Salles's hands what might have been a schematic story of political awakening becomes a lyrical exploration of the sensations and perceptions from which a political understanding of the world emerges. What ''The Motorcycle Diaries'' captures, with startling clarity and delicacy, is the quickening of Ernesto's youthful idealism, and the gradual turning of his passionate, literary nature toward an as yet unspecified form of radical commitment. <BR>
<BR>
The film, written by José Rivera, is really a love story in the form of a travelogue. The love it chronicles is no less profound -- and no less stirring to the senses -- for taking place not between two people but between a person and a continent. Mr. Bernal's soulful, magnetic performance notwithstanding, the real star of the film is South America itself, revealed in the cinematographer Eric Gautier's misty green images as a land of jarring and enigmatic beauty. <BR>
<BR>
At the end of the film, after his sojourn at the leper colony has confirmed his nascent egalitarian, anti-authority impulses, Ernesto makes a birthday toast, which is also his first political speech. In it he evokes a pan-Latin American identity that transcends the arbitrary boundaries of nation and race. ''The Motorcycle Diaries,'' combining the talents of a Brazilian director and leading actors from Mexico (Mr. Bernal) and Argentina (Mr. de la Serna), pays heartfelt tribute to this idea. In an age of mass tourism, it also unabashedly revives the venerable, romantic notion that travel can enlarge the soul, and even change the world. <BR>
<BR>
<B><I><U>As reviewed by Chris Hewitt writing for the St. Paul Pioneer Press <BR>
</U></I></B><BR>
"Motorcycle Diaries" has no political agenda, just a human one. Director Walter Salles' single-minded, straightforward structure makes the movie a series of vignettes in which Ernesto and Alberto meet people — pretty girls, leftists, lepers, auto mechanics — all of whom are so vivid they exist only as themselves, not as part of some theme the movie imposes on the story. "Motorcycle" is driven by Guevara/Salles' respect for the South American people, which is why their stories have such a powerful impact on Guevara and on us.<BR>
<BR>
On the journey, Guevara begins to see the world as a place not of divisions between people but of connections between them, and the beautiful thing about the movie is that it doesn't need to spell that out for us. It simply shows us the varied terrain of South America (including wondrous shots of Machu Picchu) and the amazing faces of its people, all united in the attempt to figure out what Guevara calls "the mysteries that surround us."<BR>
<BR>
That's a lovely metaphor for life, but Salles finds an even better one. He captures the faces of South America in periodic black-and-white scenes, where the people appear to be trying to freeze into poses for snapshots. But they can't freeze because, like the movie they're in, they are too full of life and breath and hope to stand still.<BR>
<BR>
<B><I><U>As reviewed by Joe Williams writing for the St. Louis Post-Dispatch<BR>
</U></I></B><BR>
This is not your father’s Che Guevara. The soulfully earnest young man we meet in “The Motorcycle Diaries” is an Argentine medical student named Ernesto Guevara de la Serna, who has not yet evolved into the beret-bedecked revolutionary who would be immortalized on hippie T-shirts and Havana walls as the fiery Che. <BR>
<BR>
This lyrical but low-key film captures a pivotal moment in Guevara’s awakening, the trip he took up the spine of South America with biochemist Alberto Granado in 1952. <BR>
<BR>
In Buenos Aires, Ernesto (Gael García Bernal) and Alberto (Rodrigo de la Serna) climb aboard a lumbering old Norton motorcycle for what they expect will be a summer adventure.<BR>
<BR>
Their first stop provides a base point for Ernesto’s climb to elevated consciousness. He and Alberto visit the family estate of Ernesto’s girlfriend, Chichina (Mía Maestro). For a week, the possibility of a sexual dalliance with this spoiled beauty threatens to derail the trip before it begins, but after the bawdy Alberto grows bored with chasing the family’s maid, he cajoles Ernesto into hitting the road.<BR>
<BR>
As the postcard vistas yield to the realities of life among the indigenous poor, Ernesto’s open-heartedness saves the story from mere paternalism. A scene in a fish market where he introduces himself to each of the vendors and inquires about their wares has the flavor of real life, at least in part because the people are non-actors. And it’s a clever deflation of myth that the soon-to-be poster boy (who is played by one of the world’s hottest actors) is unable to seduce the peasant girls because he is such a lousy dancer. <BR>
<BR>
Director Walter Salles (“Central Station”) shifts from slice-of-life realism to something more spiritually resonant when the travelers reach the Peruvian plateau. The locals, descended from the mighty Incas who built Machu Picchu, now must beg the landed Hispanics for work in the mines. Yet, there is nothing forced or phony about their perseverance, or about Ernesto’s humble ministrations to the sick. <BR>
<BR>
One could conclude that the movie’s monolithic benevolence is an implicit endorsement of Che Guevara’s later activities, which included guerrilla campaigns in Cuba, the Congo and Bolivia, where he was killed by CIA-backed forces. Yet, because this is ostensibly a true story, based on the diaries of both men, it’s unfair to judge “The Motorcycle Diaries” in the light of subsequent events. In its own right, it deserves a wide audience, because it so lovingly captures that moment before the universal dream of a better world is torn into competing prescriptions.<BR>
<BR>
<I>Film reviews researched and edited by Peter Haggart<BR>
</I>* * *<BR>
<BR>
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</B></FONT>~~~~~~~~~~~~~~~~~~~~~~~~~~~<BR>
PAMELA PALMER, <B>Volunteer<BR>
</B>Mailto:ppalmer@moscow.com<BR>
Film and Events Committee <BR>
Kenworthy Performing Arts Centre<BR>
<BR>
http://www.kenworthy.org<BR>
To speak with a KPAC staff member, <BR>
call (208) 882-4127<BR>
Mailto:kpac@moscow.com<BR>
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