Line #18 WMG/Evita


1	[[WMG: Che "is" Argentina itself]]
2	Narrator/everyman that appeals to Eva's conscience to help the poor like she promised? Works with the people, particularly during A New Argentina? Makes sense that he'd have a vested interest in the country if he IS the country. Also, who better to narrate a story about Argentina's most famous citizen than the spirit of the country himself, who has taken on a human form for the sake of the audience?
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4	[[WMG: Che is DeadAllAlong]]
5	Specifically, he's the ghost of someone who was killed by police during a riot/protest in the Peron years, which is why he's so bitter and unforgiving towards Evita and Juan, until he faces Evita as she's dying and is moved to sympathize with her as someone who's also suffering, not just as a symbol of corruption. With this new insight about his supposed tormentors, he finally decides to pass on in the end, as Evita does at the beginning of the first act during her solo in "Oh, What a Circus". Being a ghost would also explain why he can time-travel. Note the specific lyrics in "Waltz for Eva and Che" where they both talk about him "Waltzing out of her life", "turning back on the past", "Ride of into the sunset", "Getting off the bus", ETC. The fact that this musical number happens while Eva is in a medically induced coma in the film, lends credence to this theory.
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8	[[WMG: At least in the film version, Che is some sort of projection of part of Eva's personality]]
9	This explains why he's always around Eva, having apparently followed her from her hometown to Buenos Aires. It also explains why she doesn't notice that her neighbor, some guy from her hometown, the barkeep, and roughly half the waiters all look the same. It also explains why he's so hard on her, because he's supposed to be her consciousness and or self-loathing shaming her for her various decisions.
10	* It's worth mentioning that in the first half of "Oh What A Circus," the melody matches up with "Don't Cry For Me, Argentina" almost perfectly.
11	** It doesn't just match up with it, it ''is'' it, just faster and in E rather than D-flat.
12	* It doesn't explain why the story begins just right after her death. Perhaps the entire thing is a DyingDream, starting with what she imagines her funeral to be like, before rewinding time and having her life's event's play out before her eyes, with Che representing her thoughts and remarks in hindsight.
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15	[[WMG: Che is many people, not one]]
16	Admittedly more of a [[WatsonianVersusDoylist Doylist WMG than a Watsonian one]], but at least in the film a number of Che's guises seem to be mutually exclusive with each other - he's both the poor laborer who inspires Eva to set up her charity fund and a guest at the swanky party Peron brings her to in the "Peron's Latest Flame" sequence, for instance. The easiest explanation would be that in reality (well, fictional reality), all these characters are different people stepping into the narrator's role when required, and are played by the same actor for convenience's sake.
17	* This was originally canon, believe it or not. On the original concept album, "Che" is really a Brechtian "everyman" type of narrator (even masquerading as a "research chemist" more than once, including singing lyrics about insecticide (!) Only when the stage version was being put together did the director (the famous Hal Prince, who later directed the London ''[[Theatre/ThePhantomOfTheOpera Phantom]]'' as well) specify that he should be identifiable as UsefulNotes/CheGuevara. In fact, "che" can mean "[a] guy/dude/etc." in Spanish (see [[https://en.wikipedia.org/wiki/Che_(interjection) The Other Wiki]] for details on that one.)
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19	[[WMG: Che loved Eva]]
20	Assuming he's not [[UsefulNotes/CheGuevara Guevara]] (and he's not played as such is some productions), and he's not multiple people, this may be the most likely explanation for what his deal is and why he keeps following her. He portrays her negatively in his narration because he's jealous and thinks she belongs with him. In the film Banderas's portrayal gives off a "jilted boyfriend" feel at several points, particularly the fact that he basically ''spits'' "Don't look down; it's a long long way to fall" at her as he watches her dance with Peron at the inaugural ball. At the very end of the film, he and Peron also share a rather WorthyOpponent-esque stare, and he [[spoiler: practically makes out with Eva's coffin]].
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22	[[WMG: Che is a [[Series/DoctorWho Time Lord]]]]
23	He got stranded on Earth and decided to amuse himself by following the life of one Earthling who caught his interest. The reason she never realised that he was following her is because he was using a low level perception filter to stop people from noticing. The real clincher however is the waltz for Eva and Che, for it was established in 'The Girl in the Fireplace' that Time Lords can interact with people inside their heads. He mentions that he might "seek worthier pastures, and thereby restore self-esteem", aka, he's grown tired of following her.
24	* What's his TARDIS, though?
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26	[[WMG: [[UnreliableNarrator Che is displaying an intentionally inaccurate version of reality.]]]]
27	As an anti-Peronist Marxist, he's going to want to make Eva look bad.
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Context WMG / Evita