The Motorcycle Diaries: Hope in Youthful Idealism and Compassion
"The Motorcycle Diaries" was directed by the Brazilian Walter Salles and stars the Mexican Gael Garcia Bernal and the Argentine Rodrigo de la Serna. The film was produced by the American Robert Redford. "Diaries" chronicles the journey of a young Ernesto "Che" Guevara and his friend Alberto Granado as they take off on an old, unreliable motorcycle (affectionately and sarcastically nicknamed "La Poderosa"--the powerful one) to discover Latin America.

The movie begins with Ernesto and Alberto saying good-bye to their families. We learn that Ernesto is a medical student and Alberto a biochemist. Immediately, there is a feeling of a genuine family connection, a connection centered on understanding and love. This primal bond is returned to throughout the movie as Ernesto writes to his mother about his adventures, fears and hopes.

South America in the 50's was a different beast than the United States in the 60's (this distinction in many ways persists today). A s a result of its North - South axis, t he Latin American landscape which Ernesto and Alberto encounter is marvelously diverse -- endless green pampas turn into rugged snow covered mountains, which turn into expansive blue lakes, which turn into solemn, wind-blown deserts which finally turn into exuberant jungles and rivers.

The people within these landscapes are also culturally and ethnically diverse, reflecting not only a close historical relationship to their environment but the absence of a homogenizing "consensus" building force. The diversity of the ordinary, downtrodden people Ernesto and Alberto meet along the way--the indigenous Incas in Peru, the proud communist Amayas in Bolivia, the lepers in Peru and the working class throughout the journey--are captured poignantly in a black and white slide show at the end of the film.

In this topographically, culturally and ethnically diverse scenario (similar to the world at large), Ernesto's sense of identity is challenged. He is prevented from withdrawing into the "self." Identity, for Ernesto, becomes tied to the land and his connection with its people and their history. As a result of an inner moral perspective of equality (possibly shaped by his medical studies. After all, we are all flesh and blood), Ernesto's "I" is turned into "we," individual "freedom" becomes communal "responsibility."

"The Motorcycle Diaries," forgetting for now the violent historical fate that awaits "Che" Guevara, ends on a much more upbeat note. Ernesto and Alberto, after having made many friends along the way, part themselves lifelong friends. There is a sense of endless possibilities for both men. And who could hate what these idealistic men stood for--promoting the rights of the disadvantaged, wanting to erase social inequalities and injustices, helping the desperately ill all the while living on their wits and charm? No, it wasn't hate that they inspired, it was respect.

In one scene, Ernesto risks his life and swims through piranha infested waters to celebrate his birthday with the lepers of the San Pablo leper colony. There is a Jesus-like feeling to this act -- extreme self-sacrifice for the sake of others.

Conclusions

In linking the "freedom" embodied in "Easy Rider" to the present conservative ideology of "FREEDOM," what is really implied is that the self-centered 60's counter culture movement possesses the very same trait that today's laissez-faire free market ideology uses to give itself legitimacy -- the emphasis of individualism over social cohesion.

Further, the "Easy Rider" analogy is used to shine a light on how previously "square" white collared Wall Street, its conservative backers and Madison Avenue co-opted the sounds of Woodstock to push their economic utopia -- the so called ownership society (this scenario is most blatant in the commercials for the internet trading company E*Trade). This marketing sleight of hand not only turned the 60's cultural wars upside down but the whole moral universe was reversed -- naked self-centeredness became good; sharing and compassion was deemed inefficient and hence bad.

The predictable consequences of market populism or wanton FREEDOM have been, among others, a widening psychological and material gap between the world's haves and have-nots, environmental degradation, social instability and insecurity, global animosity, suspicion and resentment and the decline of spiritual, moral and cultural values.

The ideology of COOPERATION, on the other hand, presents a more grown up approach to the world's many ills. The COOPERATION platform is actually pragmatic. For example, in situ, COOPERATION actually reduces the incidence of fundamentalism -- a major threat to mankind's well being.

Finally, contemplating the symbolic significance of these two biker movies, it is not hard to appreciate that the ideology that encompasses compassion, social responsibility and friendship provides more reasons to be hopeful for the future of humanity than arrogant, unchecked and selfish FREEDOM.