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| Klaus Kinski | ... | Brian Sweeney Fitzgerald - 'Fitzcarraldo' | |
| Claudia Cardinale | ... | Molly | |
| José Lewgoy | ... | Don Aquilino | |
| Miguel Ángel Fuentes | ... | Cholo | |
| Paul Hittscher | ... | Captain (Orinoco Paul) | |
| Huerequeque Enrique Bohorquez | ... | Huerequeque (The Cook) (as Huerequeque Enrique Bohórquez) | |
| Grande Otelo | ... | Station master (as Grande Othelo) | |
| Peter Berling | ... | Opera Manager | |
| David Pérez Espinosa | ... | Chief of Campa Indians | |
| Milton Nascimento | ... | Blackman At Opera House | |
| Ruy Polanah | ... | Rubber Baron | |
| Salvador Godínez | ... | Old Missionary | |
| Dieter Milz | ... | Young Missionary | |
| William Rose | ... | Notary (as Bill Rose) | |
| Leoncio Bueno | |||
| rest of cast listed alphabetically: | |||
| Isabel Jimines de Cisneros | ... | Opera Singer (uncredited) | |
| Jean-Claude Dreyfus | ... | Opera Singer (uncredited) | |
| Jesús Goiri | ... | Opera Singer (uncredited) | |
| Veriano Luchetti | ... | Opera Singer (uncredited) | |
| Lourdes Magalhaes | ... | Opera Singer (uncredited) | |
| Christian Mantilla | ... | Opera Singer (uncredited) | |
| Costante Moret | ... | Opera Singer (uncredited) | |
| Dimiter Petkov | ... | Opera Singer (uncredited) | |
| Mietta Sighele | ... | Opera Singer (uncredited) | |
| Liborio Simonella | ... | Opera Singer (uncredited) | |
Directed by | |||
| Werner Herzog | |||
Writing credits(in alphabetical order) | ||
| Werner Herzog | writer | |
Produced by | |||
| Werner Herzog | .... | producer | |
| Renzo Rossellini | .... | associate producer | |
| Walter Saxer | .... | executive producer | |
| Willi Segler | .... | producer | |
| Lucki Stipetic | .... | producer | |
Original Music by | |||
| Popol Vuh | |||
Cinematography by | |||
| Thomas Mauch | |||
Film Editing by | |||
| Beate Mainka-Jellinghaus | |||
Production Design by | |||
| Ulrich Bergfelder | |||
| Henning von Gierke | |||
Costume Design by | |||
| Gisela Storch | |||
Makeup Department | |||
| Gloria Fava | .... | hair stylist | |
| Gloria Fava | .... | makeup artist | |
| Stefano Fava | .... | hair stylist | |
| Stefano Fava | .... | makeup artist | |
| Jaque Monteiro | .... | assistant makeup artist | |
| Carlos Prieto | .... | assistant makeup artist | |
Production Management | |||
| Gustavo Cerff Abulu | .... | production manager: Peru (as Gustavo Cerff Arbulú) | |
| George Sluizer | .... | production manager: Brazil | |
Second Unit Director or Assistant Director | |||
| Fred Confalonieri | .... | assistant director: Brazil (as Frederico Confalonieri) | |
| Jorge Vignati | .... | assistant director | |
Art Department | |||
| César Vivanco Luna | .... | construction: Camp Rio Camisea | |
| Jaíme Mourõa Rios | .... | construction: Indin camp | |
| Victor Trigoso | .... | construction: Camp Rio Camisea | |
Sound Department | |||
| Juarez Dagoberto Costa | .... | sound (as Juarez Dagoberto) | |
| Zezé d'Alice | .... | sound (as Zezé D'Alice) | |
Special Effects by | |||
| Miguel Vázquez | .... | special effects | |
Camera and Electrical Department | |||
| Rainer Klausmann | .... | second camera | |
| Beat Presser | .... | assistant camera | |
| Beat Presser | .... | still photographer | |
| Hans-Peter Vogt | .... | lighting technician | |
| Raimund Wirner | .... | lighting technician | |
Costume and Wardrobe Department | |||
| Franz Blumauer | .... | assistant costume designer | |
| Elisabeth Irmer | .... | assistant costume designer | |
| Rosemary Kaye | .... | assistant costume designer | |
Editorial Department | |||
| Linda Kuusisto | .... | assistant editor | |
| Carola Mai | .... | assistant editor | |
Transportation Department | |||
| Tercero Efraín Panaifo Indama | .... | tractorist | |
Other crew | |||
| Pedro Natorce Ahuanari | .... | boat crew | |
| Dr. Tomás Parraga Aliaga | .... | medical staff | |
| Walter Pinedo Alvarez | .... | boat crew | |
| Claire André | .... | production secretary: Peru | |
| Eglington Ayarza Boulloza | .... | technical advisor | |
| Pedro Padilla Chota | .... | boat crew | |
| Guardamino Benigno Paucar | .... | technical advisor | |
| Victor Tello Pinedo | .... | medical staff | |
| Nancy Rios | .... | production secretary: Peru | |
| William Rose | .... | dialogue director (as William L. Rose) | |
| Anja Schmidt-Zäringer | .... | script | |
| Werner Schroeter | .... | opera director: stage scene | |
| El Tigre Carlos Calvo Soria | .... | forest worker | |
| René Baneo Vazquez | .... | boat crew | |
| Rachel Griffiths | .... | script supervisor (uncredited) | |
Thanks | |||
| Les Blank | .... | special thanks | |
| Miguel Camateiri Fernandez | .... | thanks | |
| Nicolás Camateiri Fernandez | .... | thanks | |
| Pascual Camateiri Fernandez | .... | thanks | |
| Peter Matthiessen | .... | special thanks | |
| Joseph D. Peckerman | .... | special thanks | |
| David Pérez Espinosa | .... | thanks | |
| Sam Shepard | .... | special thanks | |
| José Koechlin von Stein | .... | special thanks: idea | |
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His films are perfect examples of the European tradition of the 'auteur' film, in which the director is seen as the originating and creative force behind the work But there is also a sense that Herzog's visionary monomaniacs function as the director's alter ego, embodying the heroic status of the auteur, always struggling against recalcitrant reality to fulfill his dream
This seems especially true of "Fitzcarraldo," which, sets a hundred years ago, begins with an Irish colonist who had a passion for opera rowing 1,200 miles down a South American river, accompanied by the madam of a brothel, in order to hear the great Caruso perform
Inspired by this experience, Fitzcarraldo embarks on a grandiose plan to open up the Amazonian jungle to river transport, providing access to new rubber plantations and thereby making enough money to build an opera house
Herzog's favorite actor, Klaus Kinski, is as appropriately manic as Fitzcarraldo, eyes glittering madly as he pursues his vision In the central sequence he organizes a tribe of Indians to help him pull a steamboat across a mountain in order to by-pass dangerous rapids
"Fitcarraldo" seems by turns admiring of its hero's megalomania and mocking of his hubris, with no illusions about the cynical exploitation of the region's riches by the rubber barons whom Fitzcarraldo tries to defeat by cleverness Ultimately though, it is the sheer spectacle which we remember