Le fond de l'air est rouge

Although made when the period it covered had barely ended, Marker's doc is a superb, incisive film history of the short but eventful period of Third World Revolution and the New Left. He doesn't attempt to explore all the ideological, sectarian byways of the time, but to make us understand what it felt like, and why people involved believed so fervently that they were making history. He also shows us how it all came unraveled, thanks to domestic repression and political fakery in the developed countries and brutal intervention in the developing.

One of the final clips (if memory serves) is most telling: Salvador Allende, months before his violent overthrow, delivering an electrifying speech to Chilean factory workers, urging them to ... accept layoffs and pay cuts. That's what it came down to, unfortunately: a boxed-in socialist president, doing his opponents' dirty work even as they prepared to murder him.

Why Soderbergh? I just saw his marvelous, two-part "Che," and couldn't help but wonder if Marker's film was on his mind when he made it. Although a fiction film with actors, it also puts you close to the action and makes you feel what it was like to be taking part in 1) the momentous Cuban revolution and 2) the bitter failure of the Bolivian insurgency. Rise and fall, very much like the elation and then the dead-end that Marker gives us. Along the way, Soderbergh provides snapshots of his main character (now in black and white) giving speeches, interviews, explaining himself and his cause to American and UN audiences who couldn't be farther from the events Che was caught up in. The revolution is televised. Marker does the same thing with some of the footage he found, and interestingly, another Cuban revolutionary--Castro--was his charismatic star.

One fine filmmaker paying tribute to one of the medium's greatest, perhaps? But see "Grin Without a Cat," and ask yourself why so few directors have any notion of the medium's potential.