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 »
Two famous competitive climbers make a bet on who can climb Cerro Torre, one of the most dangerous mountains in Argentina and the world, first. As the day of the climb approaches, their increasing competitiveness becomes destructive.
The inhabitants of an institution in a remote country rebel against their keepers. Their acts of rebellion are by turns humorous, boring and alarming. An allegory on the problematic nature ... 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 wishes him gone. Rather than kill him,the owner sends Cobra Verde to Africa. The only white man in the area, Cobra Verde finds himself the victim of torture and humiliation. Later, he trains soldiers in a rebel army. Far from home, Cobra Verde is on the edge of madness.Written by
Ken Miller <firstname.lastname@example.org>
Werner Herzog's notoriously combative relationship with Klaus Kinski reached something of a pitch in their final collaboration. A famous picture taken onset shows Kinski attempting to throttle Herzog in front of a crowd of African extras. Herzog discusses the picture with photographer Beat Presser in the documentary Mein liebster Feind - Klaus Kinski (1999): Herzog thinks that Kinski, aware of the camera, wanted to create a dramatic moment (Presser thinks Kinski was genuinely trying to kill him). See more »
Some female subjects of the king wear African waxprints which have first been produced by the Netherlands since 1880s. See more »
Herzog's films are not for everyone, but everyone should be in awe of what went into these films. Gone are the days when a director could come into a project with a few hundred grand, shoot on location with a cast of thousands, and achieve something that is so authentic, yet still maintaining such beautiful film quality. This is no Blair Witch Project. The cameras don't wobble to the point of nausea.
Cobra Verde is not a politically correct film, the dialogue and plot, as usual, are bit quirky. It's a German film, and I've come to expect a bit of quirkiness from German films. This doesn't stop me from appreciating Klaus Kinsky's performance and the authentic performances of the supporting cast. Klaus for me is the William Shatner of German Cinematography. Take that whatever way you will... he's the man.
What I get most from these films is a sense of the grandeur and presence of nature. No one has ever captured the haunting feel of such locations. I keep shaking my head in awe. Where does he find these places? If I were a tourist I wish I had this knack for finding places that so well exemplify the wonders of mother earth. Real or historically accurate? Who cares!!! These are beautiful films.
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