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David Poland

By David Poland poland@moviecitynews.com

Page Six, Medved Will 'Che' Anything to Get at Soderbergh


While beady-eyed conservative ideologues have long been the Post’s stock in trade, it takes a special kind of hack to tee off Page-Six style on Steven Soderbergh. The gossip insitiution, which test-drove over the filmmaker’s reputation last fall for no apparent reason (and inaccurately, at that), continues its reactionary blastback today with right-wing critic Michael Medved lashing out at Soderbergh’s Che Guevara biopic, which is now shooting in New York:

“I think to romanticize a mass killer and commie thug is terribly sad. With The Motorcycle Diaries [a recent release about the young Che], at least they could say it was about when he was a young man – before he had power and abused it. But it sounds like this film will be like the 1969 Che movie, with Jack Palance as Fidel Castro and Omar Sharif as Che, which was one of the worst movies ever made.”

Medved continued: “I don’t imagine this film will be a smash with [Cuban exiles] in South Florida, where many people know about the real Che Guevara and his legacy.”

The Page Six crew also grabs reaction from a jaded Cuban-American National Foundation spokeswoman, who gives Soderbergh a typically Post-y, backhanded benefit of the doubt:

“Even in history books, these things aren’t properly documented, so we’d be surprised if this movie does portray the truth accurately. But [Soderbergh] is a great filmmaker, so we’ll wait and see.”

Right. The New York Post, on the other hand, clearly has Guevara’s (and Soderbergh’s) legacy “properly documented” and burnished to a glowing crystalline luster. Let us hope that whoever is handling “historical consultant” credits for Focus Features is paying attention.

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One Response to “Page Six, Medved Will 'Che' Anything to Get at Soderbergh”

  1. Mark Ziegler says:

    Films in the past have glorified Che a little too much. The problem is some kids out there (who wear the shirt thinking its cool without and knowledge of who he is) think all these movies are fact. When they’re not. I hope Soderbergh actually shows the real Che.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon