Herzog's film is based upon the true and mysterious story of Kaspar Hauser, a young man who suddenly appeared in Nuremberg in 1828, barely able to speak or walk, and bearing a strange note;... See full summary »
A Victorian surgeon rescues a heavily disfigured man who is mistreated while scraping a living as a side-show freak. Behind his monstrous facade, there is revealed a person of intelligence and sensitivity.
Harvard student Mark Zuckerberg creates the social networking site that would become known as Facebook, but is later sued by two brothers who claimed he stole their idea, and the cofounder who was later squeezed out of the business.
After graduating from Emory University, top student and athlete Christopher McCandless abandons his possessions, gives his entire $24,000 savings account to charity and hitchhikes to Alaska to live in the wilderness. Along the way, Christopher encounters a series of characters that shape his life.
A few decades after the destruction of the Inca empire, a Spanish expedition leaves the mountains of Peru and goes down the Amazon river in search of gold and wealth. Soon, they come across great difficulties and Don Aguirres, a ruthless man who cares only about riches, becomes their leader. But will his quest lead them to "the golden city", or to certain destruction? Written by
Chris Makrozahopoulos <firstname.lastname@example.org>
Werner Herzog talks about in his commentary how he had to manipulate star Klaus Kinski into getting the performance he wanted in the films they worked on together. For example, Kinski wanted to express Aguirre's madness at the end of the film through very loud shouting and be very obvious. Herzog had him do this for an hour and a half until Kinski grew tired and couldn't perform that way. So he was very quiet and much more contained, which is the performance that exists in the film's ending. See more »
Peruvian Indians are dressed in clothes that were imported by Spanish people in 19th Century. The Aguirre story is setted in 16th Century. See more »
Brother Gaspar de Carvajal:
You know, my child, for the good of our Lord, the church was always on the side of the strong. What was the priest's point, and what was his interest in continuing with the expedition?
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AGUIRRE: THE WRATH OF GOD (1972) Spaniards in search of El Dorado descend down an intense mountain peak with barely a path on it. Men slosh through a wet jungle forest with cannibals, dragging horses, cannons and women on thrones with them. Rafts try to navigate harsh rapids with no end in sight, sending one of them into a whirlpool. This is the first ten minutes. And it is probably easier than what it took to make the film.
Werner Herzog's masterpiece follows Klaus Kinski as a conquistador leading a group of men through his personal madness in Peru, searching for the mythical city of gold. Kinski wasn't an actor, he was a time-traveller, and his performances for Herzog are his best. My favorite scene of all his work is in this film early-on: as the huge group of slaves struggle and burn their souls carrying a woman on a throne-chair against the unforgiving jungle mud and trees, Kinski suddenly appears in the middle to offer a helping hand. He writhes and morphs, grabbing the slaves and shoving them, screaming at the top of his lungs, "Fools!!! The sedan chair is stuck!"
AGUIRRE is what got Herzog noticed around the world as part of a new group of German filmmakers along with Fassbinder and Wenders. His previous film was EVEN DWARVES STARTED SMALL, which resulted in Kinski calling him, "A mere dwarf director." The battles between he and Kinski should be legendary by now. The final result in Herzog stating he will grab his gun and kill both himself and Kinski as the actor was threatening to leave the production. Kinski was convinced and finished the film.
This story and more is part of the excellent analog track by Herzog, covering all of the hardcore production that overwhelms the more famous Coppola problems making Apocalypse Now. Herzog didn't have millions of dollars, rather 300 grand, had to live on the rafts for months and deal with the jungle and Kinski. But he never bitches - you do what you have to do, and the film is never compromised, from the costumes, the beautiful real locations and the boat hanging in the tree to the eerie group of small monkeys at the end (which Herzog had to steal, even though he paid for them). The analog track is constant (many now seem to take pauses to watch the film) with background on the idea, actors, filming and philosophies. Yes, that is a real mummy in the cannibal camp, for which Herzog's brother had to buy a passenger ticket for the plane ride over.
The DVD is another fantastic release giving the nice treatment to a title that can't be making them millionaires. The image looks great and is not letterboxed, so I assume that that is how Herzog prefers it. The three trailers didn't add much to the presentation, but that's a minor point. When they are finished with the entire Herzog collection, it will be one of the most fascinating career studies on DVD.
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