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In the 1950s, an adolescent Werner Herzog was transfixed by a film performance of the young Klaus Kinski. Years later, they would share an apartment where, in an unabated, forty-eight-hour ... See full summary »
The feared bandit Cobra Verde (Klaus Kinski) is hired by a plantation owner to supervise his slaves. After the owner suspects Cobra Verde of consorting with his young daughters, the owner ... See full summary »
A small-time thief steals a car and impulsively murders a motorcycle policeman. Wanted by the authorities, he reunites with a hip American journalism student and attempts to persuade her to run away with him to Italy.
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>
"Aguirre, the Wrath of God": Werner Herzog is one of my all-time favorite film makers, and this is one of my favorite films by him. Actually taken from the diary of the priest who accompanied Pizarro's expedition in 1560, Herzog recreates the pretentious and self-deluded search for the "Lost City of Gold - Eldorado".
Herzog likes true stories...ones that are bizarre in their own right, but with his direction and personal vision, they become profound (and never optimistic). The camera work is always interesting (he single-handedly "patented" camera shots that don't sweep - they ("you") stare and stare - and stare - at a thing or person or place until it becomes abstract, intense, beautiful, threatening, profound), the scoring is always appropriate yet never expected, and his casting, often using the unique talents of the late Klaus Kinski, guarantee nothing less than an intense experience...even in a film like "Aguirre", which SLOWLY claws and slogs it's way along each and every slippery, dangerous, foreign mile of jungle.
It is clear Herzog 'focuses' on the ridiculously high beliefs humans create for and hold of themselves - that they could actually "own" anything, "conquer" anything, outwit that which they do not understand, and by sheer Will cause anything they deem important, to exist. Herzog is NOT a cheerleader for the history of humans, but he is a ponderer... and we are fortunate he does it on film.
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