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 ...
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During the 1800s, paroled Brazilian bandit Cobra Verde is sent to West Africa with a few troops to man an old Portuguese fort and to convince the local African ruler to resume the slave trade with Brazil.
A documentary on the chaotic production of Werner Herzog's epic Fitzcarraldo (1982), showing how the film managed to get made despite problems that would have floored a less obsessively ... See full summary »
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German-American Dieter Dengler discusses his service as an American naval pilot in the Vietnam War. Dengler also revisits the sites of his capture and eventual escape from the hands of the Vietcong, recreating many events for the camera.
This film shows the disaster of the Kuwaitian oil fields in flames, with few interviews and no explanatory narration. Hell itself is presented in such beautiful sights and music that one has to be fascinated by it.
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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 fit of rage, Kinski completely destroyed the bathroom. From this chaos, a violent, love-hate, profoundly creative partnership was born. In 1972, Herzog cast Kinski in Aguirre, the Wrath of God (1972). Four more films would follow. In this personal documentary, Herzog traces the often violent ups and downs of their relationship, revisiting the various locations of their films and talking to the people they worked with. Written by
L.H. Wong <email@example.com>
[Herzog and Presser are looking at Presser's famous picture of Kinski trying to strangle Herzog]
I truly like this very much. It happened because he must have sensed the presence of your camera.
He also just wanted to let you have it, didn't he?
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I like this documentary and recommend owning it. There are so many scenes that one can jump to to find Kinski's leering face and saying something fantastic. I believe that he somehow opened up his third eye and could no longer see most of the world that we live in. ----Or am I being fooled--- either way, Kinski has left his mark or should I say scar across the face of theatre and film. My only wish is that someone somewhere compiles a volume set of his greatest scenes ranging from a star performance in a well considered artful Herzog film to all of his 'B' movie bombs.
I still enjoy hearing Herzog imitating Kinski and saying, "I was Monumental I was Epical!!!!" ---and his description in the beginning of the doc. when he throws a tantrum that lasts for several days, destroying everything in the bathroom to the point where you could pass every bit through a tennis racket.
That is power. Watch it and believe.
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