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.
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 »
Jonathan Harker is sent away to Count Dracula's castle to sell him a house in Wismar where Jonathan lives. But Count Dracula is a vampire, an undead ghoul living off of men's blood. Inspired by a photograph of Lucy Harker, Jonathan's wife, Dracula moves to Wismar, bringing with him death and plague... An unusually contemplative version of Dracula, in which the vampire bears the curse of not being able to get old and die.Written by
Klaus Kinski had to spend approximately four hours per day in make-up. Fresh latex ear pieces had to be poured for each day of shooting because they were destroyed at removal. Kinski, notorious for his violent daily temper-tantrums, had a very good relationship to Japanese make-up artist Reiko Kruk and was exceedingly patient and well-behaved during make-up. See more »
It is obvious that it is unbearable for Dracula to see a Christian cross. When he arrives in Wismar by boat, he brings a coffin to a church. On his way, he walks over a cemetery full of crosses, which do not seem to hurt him at all. In the church however, he is hurt by the crosses hanging there. See more »
I saw this as part of a double feature with Aguirre: The Wrath of God. Needless to say, it wasn't an evening of giggles. This is a film from beginning to end about pestilence. There is the actual plague. There are characters who are walking demonstrations of pestilence. There is the sad, defeated, Count who, as we all know, is not happy with his condition, but is programmed to steep himself in blood. The characters of Kinski and Adjani are on a collision course. Only through human sacrifice and lust can this demon be destroyed. It's a gray, striking film, full of sadness and despair. Kinski is visually stunning as the vampire. He is remindful of count Orlock in the Murnau film. There is more sensuality in this film (there are less limitations). Still, like its predecessor, the star of the show is death and the scenes with the rats and the people dancing away their last days, the coffins carried through the streets, are as striking as any performance. Herzog brings out the weight of human despair.
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