 
Aguirre, the Wrath of God
Average Rating: 4.5 Total Reviews: 113
More Information
 On: 2008-03-28
Its odd, almost amusing, to see the other guy try to describe this movie after having seen it only once. I must have seen it a dozen times, and I still have difficulty describing it.
This isnt one of those movies like Brazil or Nausicaa, where theres so much going on or the storys so sophisticated that you have to sit though it several times to take it all in. Its something else. Mersmerizing, hypnotic...brooding...awesome...
Theres really no point in describing the plot or spoiling some surprises, its more an experiential thing. If you can appreciate a good movie thats as long as it needs to be, this is required viewing. If youre more the "Dude, wheres my car?" type, well...
On: 2008-03-06
"I, the Wrath of God, will marry my own daughter and with her I will found the purest dynasty the world has ever seen. We shall rule this entire continent. We shall endure. I am the Wrath of God!"--Aguirre.
Aguirre Wrath of God (1972) is arguably the best of the five film collaborations between German director Werner Herzog and Klaus Kinski (Aguirre: The Wrath of God, Nosferatu: The Vampyre/Phantom Der Nacht, Woyzeck, Fitzcarraldo, and Cobra Verde). Herzog knew Kinski would be perfect for the title role of Aguirre, but the director and actor frequently clashed during production of the film. They argued about the proper portrayal of Aguirre. Whereas Kinski wanted to play a "wild, ranting madman," Herzog preferred something "quieter, more menacing." As a result, Kinski spent most of his time on location infuriated with Herzog, who reportedly even threatened to shoot Kinski during production. (Herzog met Kinski at the age of 12, when he and his family shared an apartment with Kinskis family in Munich-Schwabing. Herzogs documentary Kinski: My Best Fiend, chronicles their tumultuous relationship over the years.) Originating more in Herzogs imagination than in historical fact, Aguirre chronicles the doomed expedition of a brutally rebellious Spanish conquistadore, Lope de Aguirre (Kinski), down the Orinoco River through the Amazonian jungles of South America, in his obsessive quest for gold in the legendary city of El Dorado. Known for his versatile talent, volatile personality, and deranged antics, Kinski brought a perfect performance to the film as an insanely ruthless soldier, who terrorized his party of forty soldiers (clad in full armor) and native servants. The films powerful, climactic ending depicts Aguirre hallucinating on a raft, alone with forty monkeys. Herzog shot the film on location in the Peruvian rainforest with a stolen 35mm camera, with a cast and crew from sixteen different countries. This film is absolutely stunning. See it.
G. Merritt
On: 2008-02-20
A small group of nobles, several soldiers and slaves journey down the Amazon in search of El Dorado gold. When the journey appears doomed and the leader wants to return the men commit mutiny under the influence of Don Aguirre, who appears initially as a voice of reason and pragmatism but who becomes paranoid and delusional as the jungle and the river and the natives slowly but surely begin to decimate his crew.
At its most basic this is a story of a mans descent into madness, Herzogs variation on Conrads vision of a heart of darkness that the so-called civilized man discovers as he enters the jungle and comes into contact with the so-called savage. Herzogs camera powerfully depicts an unrelenting and all-encompassing nature, the powerful and untamed river, the endless and overwhelming vegetation on its shore, a nature that overwhelms and even mocks the futile and in the end pitiful efforts of the Spaniards to maintain the trappings of dignity and ceremony. The pace of the story meanders like the river and captures the feeling of a slow descent, deep and inexorable, both dreamlike and intensely realistic.
At the same time, the film works as an unmistakeable -- even if blunt, it is certainly powerful -- metaphor that speaks to the ultimate absurdity of the pretensions to control and domination over nature and "the other" that characterize European and American history. In the end, Herzog seems to say, in spite of our humanistic ideals of mastery over nature and control over resources and conversion of all "outsiders" to "our" way of life, we are headed wrecklessly on a path of self-destruction and only nature will remain. (This is the basic story he has Brad Dourif tell in the engaging "Wild Blue Yonder," a picture of human beings who are in some ways admirable precisely in the naivety that leads them to pursue projects that are ultimately doomed to fail; and in Aguirre, the metaphor works to say that the project doomed to fail is the project of mastery and control over the globe). Whether or not you choose to read the film metaphorically, and whether or not you are impressed by the implicit views Herzog offers on the destiny of man, this is a remarkable and stunning and hypnotic and powerful, that cannot fail to impress the lover of ambitious cinema that aims at revealing some kind of truth rather than merely to help pass the time as an escape from the mundane.
 On: 2008-01-21
The stunning Amazonian location make this film interesting. The story of of the crazed Aguirre (played by Klaus Kinski) floating down the Amazon looking for El Dorado is haunting and dreamlike but also a test of ones patience. Herzog and Kinski had far greater success in the Amazon some years later with the incredible - verging on insane - "Fitzcaraldo".
On: 2008-01-20
The stunning Amazonian location make this film interesting. The story of of the crazed Aguirre (played by Klaus Kinski) floating down the Amazon looking for El Dorado is haunting and dreamlike but also a test of ones patience. Herzog and Kinski had far greater success in the Amazon some years later with the incredible - verging on insane - "Fitzcaraldo".
 On: 2007-12-10
This is the pilgrims in the 1500s before they landed on the Mayflower. They drive to the Amazon in search of El Dorado and God turns them all into monkeys. In German with English subtitles. The only really disturbing thing was the third world elements of it and the racism to whites. It is a good movie, but a lot of people view that as a thing of the past, for me its been the occult. The occult in Christianity is what the Methodists dont want you to know. Third world animals made to look like horses- caqnnibalism. They had a picture of my ancestor from the 1600s who landed in The Mayflower, he was wearing like Aguirre, he was in the military. Some slavery. Someone said that no one has ever l.ived in that bad of poverty before. Third world elements from an obscure cult film. I found this at my local library so it isnt that hard to find. Its third world with the p;ilgrims in the 1500s. Today, theyre scary, but then third world. I joined a pilgrim church just to get benefits I cant a job they fire handicapped ewmployees. I guess Im more concerned with tracing my ancestor back to the pilgrims and how they lived back then. A shocking case of the horrors of imperialism. A good movie.
On: 2007-11-06
I dont really care for of Herzogs films unless they star the mesmerizing Kinski, and this is no exception. Whether a haunted vampire, a immoral slave trader or a cukolded soldier, Kinski is never anything less than completely believable. This film is dreamlike and slow, but leaves a lasting impression on the viewer. Herzogs commentary is so revealing and totally worth listening to. Absolutely essential.
On: 2007-11-05
I dont really care for of Herzogs films unless they star the mesmerizing Kinski, and this is no exception. Whether a haunted vampire, a immoral slave trader or a cukolded soldier, Kinski is never anything less than completely believable. This film is dreamlike and slow, but leaves a lasting impression on the viewer. Herzogs commentary is so revealing and totally worth listening to. Absolutely essential.
by: Anonymous On: 2007-09-08
From the moment the film begins with its haunting dirge-like music, we know were in the hands of a master. Director Werner Herzog (b. 1942) takes the viewer through the doomed allegory of crazed Aguirre, played by Klaus Kinski (1926-91), who infuses the character with his piercing blue-eyed gaze and incredible dancers stance. Like Don Quixote, another man possessed, he actually tilts.
Loosely based on the real South American conquistador and rebel, Aguirre, this film relates the well-known tale of pursuing an impossible dream: a quest for golden El Dorado. Its fleshed out against breathtaking Peru. Unforgettable scenes, akin to John Buchans Pilgrims Progress, include the climb down treacherous hills, slugging through knee-deep water, and sloshing through sucking mud.
Kinskis face bookends the opening and closing of this 100-minute film. In several scenes, Kinski holds some of the delightful and terrifying jungle creatures, his tenderness in contrast to his bloodthirsty brutality. We also get to know the cruelty and cleverness of the indigenous Indians who predicted the coming of the Golden Man but were powerless to stop him. As in real life, the characters on the journey are layered and complex.
In a curious way, the film reminded me of Chaucers Canterbury Tales gone terribly wrong, as one mans greed and egomania echo the disastrous warring times in which Herzog grew up. The mark of a great director is his ability to allow the viewer to forget hes watching a movie with people dressed in costumes. The film is staggeringly real with faces that will haunt you for hours afterward.
On: 2007-09-07
From the moment the film begins with its haunting dirge-like music by Popol Vuh, we know were in the hands of a master. Director Werner Herzog (b. 1942) takes the viewer through the doomed allegory of crazed warrior Aguirre, played by Klaus Kinski (1926-91), who infuses the character with his piercing blue-eyed gaze and incredible dancers stance. Like Don Quixote, another man possessed, he actually tilts.
Loosely based on the real South American conquistador and rebel, Aguirre, this film relates the well-known tale of pursuing an impossible dream: a quest for golden El Dorado. Its fleshed out against breathtaking Peru. Unforgettable scenes, akin to John Bunyans Pilgrims Progress, include the climb down treacherous hills, slugging through knee-deep water, and sloshing through sucking mud.
Kinskis face bookends the opening and closing of this 100-minute film. In several scenes, Kinski holds some of the delightful and terrifying jungle creatures, his tenderness in contrast to his bloodthirsty brutality. We also get to know the cruelty and cleverness of the indigenous Indians who predicted the coming of the Golden Man but were powerless to stop him. As in real life, the characters on the journey are layered and complex.
In a curious way, the film reminded me of Chaucers Canterbury Tales gone terribly wrong, as one mans greed and egomania echo the disastrous warring times in which Herzog grew up. The mark of a great director is his ability to allow the viewer to forget hes watching a movie with people dressed in costumes. The film is staggeringly real with faces that will haunt you for hours afterward.
On: 2007-08-08
I didnt know anything about this film when I started watching it. I was disappointed that the film completely lost its moral ambiguity near the end. Taking cheap shots at colonialism had become utterly commonplace and meaningless long before this film was made in the early 70s. This film is so politically correct and bound up in its time that its difficult to see any depths in it. Aguirre, whose name might as well be Arian, tries to find a land he can claim as his own, and where he can start a new, purer race. Surprise, surprise, the film shows us that Aguirre is rather a madman whom you cant really expect to do anything except sail to his fitting doom. Three stars for the unostentatious, seemingly effortless style, as well as for the poignant boat-in-the-tree scene near the end. If youve seen Herzogs documentaries, or his other films for that matter, the style in this one is quite similar. When all is said, youre much better off watching this than most anything coming out of Hollywood.
On: 2007-07-03
Lyrical and mesmerizing, this astonishing tale of megalomania and greed, told from the perspective of 16th-century monk Carvajal (Del Negro), is the ultimate Herzog-Kinski collaboration. Filmed on location in Peru under the very conditions it emulates, "Aguirre" has a dreamlike feel amplified by Thomas Mauchs exemplary cinematography and Popol Vuhs haunting score. Kinski truly savored the role of Aguirre, delivering a brilliantly intense, even frightening performance not far removed from his real-life persona. Fascinating for its hallucinatory opening and closing shots alone, "Aguirre" is a deranged journey to the heart of darkness you wont want to miss.
On: 2007-06-27
Werner Herzog has been called a madman, a dreamer and a maverick of cinema. An eccentric and driven filmmaker, his drive and eccentricity often crossed the border into obsession. Not surprisingly, his films have often been seen as explorations of the depths of obsession, and his masterpiece of masterpieces, Aguirre, the Wrath of God, is no exception.
Aguirre is a fairly accessible film, considering its pedigre, and one that eschews the temporally disjointed structures and arcane avant-garde-isms more typical of earlier German art cinema (including Herzogs own previous work). Instead, Herzog relies on simple narrative filmmaking to tell a story that is on one level a chronicle of a Quixotic yet doomed quest, on a second level, a meditation on the descent into madness and death, and on yet another level, a scathing rebuke of the cultural zeitgeist of Herzogs age.
Aguirre, the Wrath of God begins with one of the most visually stunning shots in cinematic history (and ends with another), as conquistadors under the command of Gonzalo Pizzaro (brother of the conqueror of the Inca), guided by Indian slaves, pick their way through the fog down an impossibly steep mountain terrace toward the jungle below. Soon, a small force leaves this main body to scout down a river in the search of the fabled city of El Dorado.
The rest of the film follows the course of this scouting party as it floats to its inevitable doom, done in by starvation, disease, the decidedly unfriendly attentions of the natives, and, most of all, by the madness and boundless ambition of the expeditions second-in-command, Don Lope de Aguirre (the incomparable Klaus Kinski).
In telling this story, Herzog makes use of a minimalistic cinematic style in which both dialogue and action are sparsely distributed. Instead, the plot unfolds primarily through a series of visual metaphors - the descent into the jungle, the river, a fully rigged sailing vessel somehow stranded in the forest canopy - which, combined with the brilliant soundtrack by ambient music pioneers Popol Vuh, help to create the trancelike dreamscapes for which Herzog is justifiably famous.
One of the highlights of Aguirre, the Wrath of God is the simply stunning cinematography of Thomas Mauch. The fluid, languid movements of Mauchs camera mirrors to the agonizingly slow progress of the expedition (shown to particularly brilliant effect in the films opening shots), and serves to lend an epic sensibility to a film that clocks in at a spare 94 minutes. The supersaturated colors of the jungle backgrounds become at once beautiful and suffocating - a choking, endless emerald sea, swallowing all human presence and endeavor, rendering them futile and meaningless.
Special attention should also be paid to the Klaus Kinskis performance in the title role, which is not only magnificent, but must be counted among the greatest performances in film history. For a lesser actor, the sparseness of dialogue and plotting in Herzogs largely improvised script could have presented an insurmountable obstacle, but in the hands of a master like Kinski, that very lack of dialogue and action becomes an opportunity to fill the empty space with the edges of a character created from the fragments of gesture. Kinski renders the madness of Aguirre all the more frightening by cloaking it in mystery and only allowing us to view glimpses of the beast within. Instead, we are left to intuit his insanity from subtle cues of movement and expression: his curiously bent walk; the inhuman detachment he shows in the face of the suffering and fear of his men; the way he simply materializes in front of the camera, drifting in like fog (a feat he contrived through a contorted sort of pirouette); the calculating silence into which he frequently falls. That his madness is only hinted at makes the unnervingly whispered moments of rage even more terrifying.
On the surface, Aguirre is an exploration of the romance of the Impossible Dream, yet another sign of his obsession with obsessions, perhaps the central concern of Herzogs art. On a deeper level, it is perhaps best understood as a blistering critique of the 1960s counterculture. The Enlightenment conceit of the noble savage which the hippie movement adopted as its central tenet is ruthlessly dissected, and the hollowness made manifest by the Summer of Love, Altamont and the Manson Family is given concrete expression in the form of the Indians. These, far from being the peaceful sages of hippie lore, appear in Aguirre as faceless demons of fear, invisible except for their handiwork, which is no less than death itself.
Herzogs Jungle, his emblem of Nature, reinforces this critique: Herzogs Jungle is not the countercultures garden of delights, it is Conrads Heart of Darkness. Here, the hippies peaceful paradise is consumed by Kiplings nature, red in tooth and claw. Though the Jungle teems with life and beauty, it is in the end a cradle of madness, and the triumph of the Jungle is a meditation on the triumph of Death.
But it is in the character of Aguirre himself that Herzogs critique of the counterculture achieves its most complete form, for Don Lope de Aguirre can be fruitfully read as the films hippie stand-in (he conveniently even sports long hair). It is Aguirre, conquistador, and ex officio, agent of civilization, who descends into the Jungle (and into madness), stripping away the last vestigial remnants of his own civilized veneer in his pursuit of the Impossible Dream of El Dorado. What emerges is, in a sense, the Natural Man. But the Natural Man is not a man at peace and harmony with other men and nature, but a man reduced to a state of madness and endless, unquenchable desire. In Aguirre, the great lie of the Enlightenment and counterculture is made manifest: divorced from any civilized impulse, he is only a savage, vicious, ruthless and subject only to his own impulses and wishes. Instead of Rousseaus Noble Savage, the Natural Man stands revealed as nothing more (or less) than Hobbes Leviathan.
On: 2007-06-26
Werner Herzog has been called a madman, a dreamer and a maverick of cinema. An eccentric and driven filmmaker, his drive and eccentricity often crossed the border into obsession. Not surprisingly, his films have often been seen as explorations of the depths of obsession, and his masterpiece of masterpieces, Aguirre, the Wrath of God, is no exception.
Aguirre is a fairly accessible film, considering its pedigre, and one that eschews the temporally disjointed structures and arcane avant-garde-isms more typical of earlier German art cinema (including Herzogs own previous work). Instead, Herzog relies on simple narrative filmmaking to tell a story that is on one level a chronicle of a Quixotic yet doomed quest, on a second level, a meditation on the descent into madness and death, and on yet another level, a scathing rebuke of the cultural zeitgeist of Herzogs age.
Aguirre, the Wrath of God begins with one of the most visually stunning shots in cinematic history (and ends with another), as conquistadors under the command of Gonzalo Pizzaro (brother of the conqueror of the Inca), guided by Indian slaves, pick their way through the fog down an impossibly steep mountain terrace toward the jungle below. Soon, a small force leaves this main body to scout down a river in the search of the fabled city of El Dorado.
The rest of the film follows the course of this scouting party as it floats to its inevitable doom, done in by starvation, disease, the decidedly unfriendly attentions of the natives, and, most of all, by the madness and boundless ambition of the expeditions second-in-command, Don Lope de Aguirre (the incomparable Klaus Kinski).
In telling this story, Herzog makes use of a minimalistic cinematic style in which both dialogue and action are sparsely distributed. Instead, the plot unfolds primarily through a series of visual metaphors - the descent into the jungle, the river, a fully rigged sailing vessel somehow stranded in the forest canopy - which, combined with the brilliant soundtrack by ambient music pioneers Popol Vuh, help to create the trancelike dreamscapes for which Herzog is justifiably famous.
One of the highlights of Aguirre, the Wrath of God is the simply stunning cinematography of Thomas Mauch. The fluid, languid movements of Mauchs camera mirrors to the agonizingly slow progress of the expedition (shown to particularly brilliant effect in the films opening shots), and serves to lend an epic sensibility to a film that clocks in at a spare 94 minutes. The supersaturated colors of the jungle backgrounds become at once beautiful and suffocating - a choking, endless emerald sea, swallowing all human presence and endeavor, rendering them futile and meaningless.
Special attention should also be paid to the Klaus Kinskis performance in the title role, which is not only magnificent, but must be counted among the greatest performances in film history. For a lesser actor, the sparseness of dialogue and plotting in Herzogs largely improvised script could have presented an insurmountable obstacle, but in the hands of a master like Kinski, that very lack of dialogue and action becomes an opportunity to fill the empty space with the edges of a character created from the fragments of gesture. Kinski renders the madness of Aguirre all the more frightening by cloaking it in mystery and only allowing us to view glimpses of the beast within. Instead, we are left to intuit his insanity from subtle cues of movement and expression: his curiously bent walk; the inhuman detachment he shows in the face of the suffering and fear of his men; the way he simply materializes in front of the camera, drifting in like fog (a feat he contrived through a contorted sort of pirouette); the calculating silence into which he frequently falls. That his madness is only hinted at makes the unnervingly whispered moments of rage even more terrifying.
On the surface, Aguirre is an exploration of the romance of the Impossible Dream, yet another sign of his obsession with obsessions, perhaps the central concern of Herzogs art. On a deeper level, it is perhaps best understood as a blistering critique of the 1960s counterculture. The Enlightenment conceit of the noble savage which the hippie movement adopted as its central tenet is ruthlessly dissected, and the hollowness made manifest by the Summer of Love, Altamont and the Manson Family is given concrete expression in the form of the Indians. These, far from being the peaceful sages of hippie lore, appear in Aguirre as faceless demons of fear, invisible except for their handiwork, which is no less than death itself.
Herzogs Jungle, his emblem of Nature, reinforces this critique: Herzogs Jungle is not the countercultures garden of delights, it is Conrads Heart of Darkness. Here, the hippies peaceful paradise is consumed by Kiplings nature, red in tooth and claw. Though the Jungle teems with life and beauty, it is in the end a cradle of madness, and the triumph of the Jungle is a meditation on the triumph of Death.
But it is in the character of Aguirre himself that Herzogs critique of the counterculture achieves its most complete form, for Don Lope de Aguirre can be fruitfully read as the films hippie stand-in (he conveniently even sports long hair). It is Aguirre, conquistador, and ex officio, agent of civilization, who descends into the Jungle (and into madness), stripping away the last vestigial remnants of his own civilized veneer in his pursuit of the Impossible Dream of El Dorado. What emerges is, in a sense, the Natural Man. But the Natural Man is not a man at peace and harmony with other men and nature, but a man reduced to a state of madness and endless, unquenchable desire. In Aguirre, the great lie of the Enlightenment and counterculture is made manifest: divorced from any civilized impulse, he is only a savage, vicious, ruthless and subject only to his own impulses and wishes. Instead of Rousseaus Noble Savage, the Natural Man stands revealed as nothing more (or less) than Hobbes Leviathan.
On: 2007-05-24
There are some movies that reach you in ways most others dont. "Aguirre. the Wrath of God" is one of those movies. The plot and acting are certainly interesting but the amazing thing about the movie is how it was ever made in the first place. The opening scene of an endless line of soldiers, porters, animals, etc coming single-file down a mountain path is, initially, secondary to the sheer beauty of the scenery. As the camera stays focussed on that shot, we gradually change our focus to the long line of people trekking along steep inclines and narrow paths. How on earth did anyone get all of these people up there to shoot this scene in the first place? I learned from watching "Fitzcaraldo" that Werner Herzog is a director not afraid to shoot long takes on any given scene he deems worthwhile. This opening shot is emblematic of what Makes "Aguirre" such a marvelous film. The combination of stunning scenery, cinematography, and pristine locations makes watching this tale of MacBeth in the New World such an adventure.
As the story unfolds, the conquistadores come to the river that they will travel to find their quest; the city of gold. Herzog gives us another one of his extended scenes of the churning white-water rapids in this forboding river. As the shot continues, it becomes slightly out of focus with the effect of making its chaotic appearance all the more menacing. In another one of those "how did he do that?" sequences, we follow four rafts down a slightly less challenging stretch of the river. This film looked dangerous to be a part of. Even as the river widens into a slow-moving flood plain, we are still amazed at the limitations that the actors and crew members must be contending with to put this movie together.
As for the plot and the acting, it evolves into a tale of intrigue with the main culprit being Klaus Kinski as Aguirre. His quest for fortune and fame leads him to abandon all moral and logical sense with the sole purpose to become ruler of his corner of the world. The contrast between mans immorality and natures purity serves to enhance our awareness of both.
The expedition descends deeper into depravity and greed to where we realize that there will be no happy ending. Thus, when the movie does come to a close, it is not with a bang but with a whimper and appropriately so. Nature has been violated but man has been subdued.
by: joshmiller34 On: 2007-03-15
"Aguirre, The Wrath of God" is a movie I discovered in Roger Eberts "The Great Movies" and have wanted to see for a long while. The film is directed by legendary German director Werner Herzog, whose work Ive only recently been introduced to. Ive seen only one other film by the man and that film was "Stroszek" which appeared in Eberts "The Great Movies II."
When I review a film, I usually base my star rating on the entertainment value. There are a lot of great movies that arent very entertaining. I liked "Stroszek" but I noticed that Herzog has a slow, pacing style that is similar to Kubrick. In this film, he has a plot that could make a suspense/action film. Instead, its a slow paced film about madness, greed, and other things. Its easy to see why the film is considered a great film. It is great. Beautifully shot, with terrific performances, and definite directorial brilliance. The movies entertainment value is low, it moves at about the same pace as "2001: A Space Odyssey" even though it contains a lot more dialogue. The movie was the first pairing of director Herzog with actor Klaus Kinski, a relationship that is just as famous as the films they did together. Movie lore states that Herzog threatened to kill Kinski, while brandishing a gun at him. Kinski claims in his autobiography that he was the only one onset with a gun. Am I the only one who thinks the image of Germans threatening to kill each other is funny? First of all, the movie is about Spanish conquistadors which makes the fact that the film is in German a bit strange. But that doesnt matter. The movie is about Gonzalo Pizarros doomed expedition to find the city of El Dorado. The movies oft mentioned opening shot is one of the most beautiful Ive seen in cinema. It shows a long line of people walking down a steep mountaintop to a valley down below. The plot begins when Pizarro stops and, realizing that El Dorado might not exist after all, sends a much smaller party to explore farther upriver. The party is led by a guy named Don Pedro de Ursua, while Aguirre (Kinski) is second-in-command. Several more key players, including Aguirres daughter Inez, a priest named Gaspar de Carvajal, and Ursuas wife are also there but Im not going to get much into the plot so bear with me. Even though Aguirre holds the rank of second-in-command through most of the film, hes running things throughout. When a raft gets stuck in the water, he declines to send someone to save them, and so forth. Out of all the wonderful shots in the film (and theres a lot) my favorite is the haunting final shot, which I wont reveal here. Ive never seen a film with Kinski and didnt even see Kinski until I saw this film. The man fits the role so perfectly. Hes got a face that looks like it was chiseled by a 14th century sculptor, with wide lips that when curled back make him look evil and deranged. From what Ive read on Kinski, it seems that hes almost playing himself while playing Aguirre. Im glad I saw this film, but I dont see myself watching it again. I acknowledge that it is a great film, a haunting film even, but its only going to click with movie buffs on just how good it is. I have been wrong before though. Ive liked films much more once I grew familiar with the work and this film definitely has the Herzog stamp on it. Its a good film, where theme is more important than plot. It moves slowly, isnt extraordinarily entertaining, but it is great.
ENTERTAINMENT: C+
CINEMATOGRAPHY: A
DIRECTION: A
ACTING: A
DIALOGUE: B+
GRADE: B-
On: 2007-02-24
I never knew much about this movie until the other day when I was reading some Top 100 Lists put out by famous critics. It was even more impressive than advertised. from moment one. The opening is absolutely captivated as it thrusts you back into the timeframe the director wishes to recreate. Intensity, intensity, and more intensity is the best way to describe this film. Every time Kinski is onscreen its impossible to notice anyone else. He absorbs our attention immediately. The peripherals--like the score, the Incan flute music, and even the cluck clucking of Aguirres right hand man--increase the tension which is only somewhat relieved in the final sequence. Viewers know exactly what is coming but that does not diminish its power and our amazement. This one belongs in everyones Top 100.
On: 2007-02-21
Most serious directors and actors aspire to a level of professionalism that seems effortless to the point of casual. Like the best baseball outfielders catching swirling flyballs with a nonchalant jog and a flick of the wrist. On the other hand, Kinski and Herzog want you to feel every moment of effort, every muscle twitch, the oppresive heat, the mind-numbing glassy eyed exhaution, the dangerous waters, & the sleepless nights. Watching this movie, I can easily imagine the furious arguments and sullen bitterness of men pushed to their creative and physical limits. They suffered to make this movie and they want you to know it. Herzogs actors tolerate conditions and exertions far beyond the call of duty and for what? To make a flick. Aguirres men tolerated far more for gold most didnt live to see. At the heart is the titular character, played by Kinski as a wild eyed wraith more dead than alive as he descends into an utter madness as a refuge against the ordeal and death he presides over. To know anything about Kinski is to know that Aguirre is not a terrible stretch for him. If anything, his performance is more brave in its selfexamination than creative in its acting chops. Herzog, for his part, seems to be a good old-fashioned meglomaniac as he appears to derive great satisfaction from pushing his cast and crew far beyond normal limits and treating them like little toy people so he can be a rich famous director. He has a singular vision and is determined to see it on the screen, no matter what. He is a throwback to the American studio director/petty tyrants like John Ford, Alfred Hitchcock (a gentleman tyrant who referred to actors as cattle), Michael Curtiz and many others. Herzog is determined to control and Kinski resists control and their collaborations are the output of a kind of two brained insane but brilliant filmmaker. Aguirre is almost two movies. One is a brillant study of madness and ordeal and the other is an equally fascinating, if unintentional, documentary of two difficult half mad professional collaborators making a great movie often in spite of themselves.
On: 2007-01-05
"Aguirre" drifts somewhere between the most gritty realism and the most stylized of the surreal. Painfully shot on location in the grueling jungles of South America, Herzog lingers on the scenery in such a way that the misty mountains and raging rapids start to take on a strange dream like quality. The droning minimalist musical score adds to the hazy, trance inducing atmosphere. Very real things like a horse watching the boat drift away from the shore somehow become the "fantastic." Much like the doomed characters of the film, the viewer also becomes lost in a fever dream where reality and fantasy blur. You to will see a distant ship nested in the tree tops and wander if it is really there or not. All the while, Herzogs eye for harsh realistic detail serves as a reminder of the films reality.
There is a strange numb dread about the movie, one of the most peaceful and subtle descents into oblivion you can possibly hope for. Its very much like marching to the eletric chair but being to stoned to care. Even the more violent death scenes come across as being painless and gradual, so much so that many of the characters dont even seem to notice that their dead, let alone care. Just as death gradually consumes the characters, the apocalyptic climax creeps up on the viewer without them even knowing it. Commenting on a jungle sloth, the Aguirre character comments, "this creature sleeps most of its life away." I wander if Herzorg is suggesting that is also true for most humans, especially the dreamers.
The story is a simple one, told visually with little dialouge. The missionary(Del Negro) spaciously narrates the more concrete aspects of story. On the surface it is simply a tale of greedy conquistadors that revolt against orders, sail down the river, and are gradually killed off by hunger,illness, natives, and each other. Kinski approaches "Aguirre" with a quiet, controlled intensity that makes his character far more disturbing than any ranting lunatic; letting his expressive eyes convey the scheming maddness and menace boiling under the surface. However, there are also impossibly gentle scenes that add subtle depth to the deranged character. The most noteworthy being, the warm scene where he presents a minature sloth to his daughter; the creature delicate and fragile in his large, stern hands. Oddly enough, Kinskis Aguirre is also a very inspiring leader. As absurd as the dream of El Dorado might sound, his appealing case makes it very easy to see why most of the group side with him(especially the African slave, a suprisingly well developed and played character that could have been a throw away.) Too bad its a misguided dream built on greed. Kinski of course rules but the supporting performances are also fantastic. Del Negro stands out the most as the missionary that may be a little more sinister than he initially seems to the viewer while the doomed couple, Helena Rojo and Ruy Guerra give near silent strong faced performances that interestingly clash with the tragedy of their situation. They are sympathetic for sure, but they arent asking for your sympathy or even your support. While none of the supporting characters are boundless with development or depth, everyone at least allowed a revealing scene or two that makes them more than just props for Herzorgs camera. It is apparent the quest is doomed from the start, but one cant help but turn away from the void their descending into, the word "hypnotic" is indeed a good description.
by: _bernie On: 2006-08-12
Called "A breathtaking journey into the heart of darkness."
The cinema tail of the conquest of Don Lope de Aguirre (Klaus Kinski) and how it might have been as they traverse the Amazon river (Filmed in Peru) in search of the mythical lost City of Gold.
Some see it as real others see holes you can drive a truck through; Any way you see it this is a good place to start in the New German Cinema movement. A good choice of actors and great visuals. This is also an intense way to learn some German. The victim on the raft is full of arrows and he gets kicked before the revealing statement "er ist tot"
On: 2006-07-23
This is the best and the worst film Ive ever seen in my life. It has a certain artful and dreamlike quality to it that is truly hypnotic, which is both good and bad. I found it hard to keep my mind on the film, as it drags by very slowly, however, I was fully drawn back in, like waking from a deep sleep, as the last few minutes of the film rolled in. These last moments are jaw dropping and make the whole painful experience of getting through the film entirely worth it. Enjoy, if you dare.
by: Anonymous On: 2006-07-09
*** This comment may contain spoilers ***
"Aguirre, The Wrath of God" is a fascinating tale that was told by its matchless team of creators, two madmen not unlike Aguirre himself. Full of powerful images of impressive landscapes and natural wonders, this film as many of Herzogs films explores his favorite theme - magnificent indifference of nature against the mans obsession that borders with madness.
One of the best endings ever - tragic and comical in the same time - mad and delusional man on the wrecked raft with the monkeys - and he does not see it. He lives in his own world that he created in his feverish mind.
When I watch Herzogs films I think of his words, "If I had to climb into hell and wrestle the devil himself for one of my films, I would do it." Each his film deserves to be wrestled for.
On: 2006-06-30
This film is now commonly viewed as Werner Herzogs international breakthrough. Which unfortunately is another myth that has sprung up around the film. Lauded and adored by critics and academia perhaps, the general cinema going public were and still remain unaware of Herzogs work. But it certainly is a creative breakthrough and the reasons for this, is that by Herzog standards this is a very conventional piece of story-telling. It is replete with action, conspiracy, adventure and danger and from a narrative perspective owes a good deal of debt to classic Hollywood adventure films. Where it differs is in Herzogs own unique lexicon of film language, his use of camera, editing and soundtrack combine to give the film a documentary feel. This often works in an opposite way in Herzogs cinema as well, with his documentaries having the heightened, fantastical lucidity of a fictional narrative. The film also highlighted to a wider audience Herzogs propensity to take risks and the efforts he goes to in order to achieve the `ecstatic truth he has sought throughout his career. In AGUIRRE this is best represented by the breathtaking opening sequence.
This film also establishes the twin themes that have been present throughout Herzogs work since, that of colonialist expansion and the effect of western civilisation on the African continent and the exploration of dreams. In this case the dreams of AGUIRRE are negative and fuelled by a slowly burgeoning insanity. And a major delight of this film is KLAUS KINSKIS towering performance of scheming malevolence. Rarely has an actor dominated a film quite as much. Herzog also painstakingly presents nature as harsh, unforgiving and beyond the mere comprehension of a man, a theme he still explores successfully to this day as his recent film GRIZZLY MAN illustrates. If one can ignore the mythical tales of hardship and insanity that dog this film, it is an incredible experience that makes a fine companion piece to both Conrads HEART OF DARKNESS and Herzogs own FITZCARRALDO.
Anchor Bays DVD is unfortunately devoid of the type of extras we have become used to from the company. But we should be glad that they have taken of the task of re-mastering Herzogs films and bringing them to the attention of the DVD generation of film collectors. The commentary track is good value for money, Herzog remains as always fascinating listening.
On: 2006-06-29
This film is now commonly viewed as Werner Herzogs international breakthrough. Which unfortunately is another myth that has sprung up around the film. Lauded and adored by critics and academia perhaps, the general cinema going public were and still remain unaware of Herzogs work. But it certainly is a creative breakthrough and the reasons for this, is that by Herzog standards this is a very conventional piece of story-telling. It is replete with action, conspiracy, adventure and danger and from a narrative perspective owes a good deal of debt to classic Hollywood adventure films. Where it differs is in Herzogs own unique lexicon of film language, his use of camera, editing and soundtrack combine to give the film a documentary feel. This often works in an opposite way in Herzogs cinema as well, with his documentaries having the heightened, fantastical lucidity of a fictional narrative. The film also highlighted to a wider audience Herzogs propensity to take risks and the efforts he goes to in order to achieve the `ecstatic truth he has sought throughout his career. In AGUIRRE this is best represented by the breathtaking opening sequence.
This film also establishes the twin themes that have been present throughout Herzogs work since, that of colonialist expansion and the effect of western civilisation on the African continent and the exploration of dreams. In this case the dreams of AGUIRRE are negative and fuelled by a slowly burgeoning insanity. And a major delight of this film is KLAUS KINSKIS towering performance of scheming malevolence. Rarely has an actor dominated a film quite as much. Herzog also painstakingly presents nature as harsh, unforgiving and beyond the mere comprehension of a man, a theme he still explores successfully to this day as his recent film GRIZZLY MAN illustrates. If one can ignore the mythical tales of hardship and insanity that dog this film, it is an incredible experience that makes a fine companion piece to both Conrads HEART OF DARKNESS and Herzogs own FITZCARRALDO.
Anchor Bays DVD is unfortunately devoid of the type of extras we have become used to from the company. But we should be glad that they have taken of the task of re-mastering Herzogs films and bringing them to the attention of the DVD generation of film collectors. The commentary track is good value for money, Herzog remains as always fascinating listening.
by: Anonymous On: 2006-05-18
the most hauntings shots of film i have ever seen are the opening and closeing shots of this epic masterpiece of the madness power and wealth can cause. the shots of the army draging a huge cannon while in armor and carring suplies(knowing the cast was really doing this as cgi effects are many years away) gives you the feel of the power of nature and a feeling of where these men will end up by the end of the movie.
as an officer under a noblemans command, aguirre(kinski in the role of a lifetime) is slowly seeing that he can become rich and grab a lot of land if he can lose the nobleman leader and strike out on his own. so taking men and supplies with him he sets out to conquer this harsh unforgiven land, and loses his mind in the process. the film is remarkable as it shows us how quickly the land and maddness overtake aguirre and his men,who set out down a river looking for a city of gold! the river trip is the most unforgiven trip i have ever seen, as sickness and unseen natives slowly take their tole on the exploriers. the finale shot of aguirre giving a speach to a dead crew as he flots down the empty river is both heartbreaking and a chilling look at madness at its most unchecked!
the transfer is great ant the movie has never looked better,so give this one a try!!!!!!!
On: 2006-05-04
There were 96 reviews of Aguirre at the time I wrote this one. Here is mine. Werner Herzog presents a minimalist and completely awe inspiring film of a Pizarro like adventurer and their disasterous
trip down the Amazon. Shot on location at a fog shrouded Machu Picchu. One sees only the jungle and the exposure in the begining as the party lead by Aguirre decends into the jungle below. They are soon swallowed and slowly die from everything including the river to the indians. The film is completely raw and the locations props and indians completely real. The etheral film score carries it along like a dream. Klaus Kinski is perfect as the beligerent, and foolish leader of the small party.
On: 2006-04-06
Epic, monotonyus, hypnotic story about insane ambitions, greed, hate and brutality mixed with insanity and visions. Seems that Herzog and Kinski were both stoned all the time during making this movie somewhere in the jungle. I also recommend Woyzeck and Fitzcarraldo.
Hey:)
On: 2006-03-13
Modern makers of "action-adventure" films heavy with digital "special effects": humble yourselves and be CONQUERED!
For here is a FILM!
Brilliant in conception, cinematography, casting, acting, and directing; "Aguirre the Wrath of God" overwhelms all other efforts in the "action-adventure" genre
(except of course, Herzogs other Amazonian masterpiece "Fitzcarraldo") because it is all REAL!
Imagine going on a SERIOUS whitewater rafting trip in the Amazon jungle
dressed in full Spanish armor and period costumes with a cannon on rickety log rafts.
They actually DID IT!
They had a great adventure, all of them, the actors and the native extras and everybody.
And they filmed it and they got THIS,
this masterwork, this gem.
"Aguirre the Wrath of God" is a tour de force of artistic brilliance and personal courage.
It is a film that once viewed will haunt your dreams and days for a lifetime.
OK so its in German with English subtitles. But the subtitles are clear and yellow and well-placed at the bottom of the screeen so as to never obscure the action or dialog.
And the action and dialog are so gripping that you will soon forget you are even watching a German-lauguage film.
Unparalleled cinema.
On: 2006-03-11
In the 16th century, an expedition of Spanish soldiers, lead by Francisco Pizarro, travels down the Amazon in search of gold. The journey becomes more perilous with every step, the Spanish and their Indian slaves rapidly falling victim to the elements. Pizarro declares that a scouting party led will move ahead, and must return within two weeks. Don Ursua will lead the party, with Don Aguirre second in command.
Werner Herzogs Aguirre, the Wrath of God plunges the viewer into the heart of madness, fully realized through the eyes of a man with a lust for power that triumphs over all else. The scouting party makes its way through an Amazon jungle teeming with billions of shades of green, which spiral into seeming eternity. Food is scarce, hostile natives are plentiful, and the Spanish are greatly outmatched. They may be settlers, but the jungle seems dizzyingly claustrophobic, natures coiled as if it may spring to life and devour every foreign element that dare trespass. Where many films use nature as a beautiful symbol for harmony, in this film, it is a WMD.
The scouting party rapidly falls apart. Aguirre (Klaus Klinski) moves with a queasy limp, with a head that seems to swivel 360 degrees, his intense eyes not possessing bright intelligence, but dark cunning. He cares not for gold, but for power, and gleefully seizes the chance to overthrow Ursua. Aguirre declares independence Spain, claiming South America as his territory, a bold claim considering the size of the scouting party. He appoints a fat, lazy bureaucrat to be his puppet king, though Aguirre finds this man to be unsatisfactory as well. Little time passes before Aguirre declares himself the new king, feverishly driving the party forward on a giant raft.
Food quickly runs out, Indian attacks intensify. The tragic excess of old Europe sticks out like a sore thumb; the party has cannon, horse, and a mobile sitting room for Aguirres daughter, but rotten fruit for nutrition. Aguirre becomes increasingly unstable, pompously bragging about his hollow empire, ruthlessly striking down any member of his own party that utter a word of doubt. As we watch Aguirres sanity deteriorate under the crushing weight of his failed dream, images of Adolf Hitler pounding a battle map and ordering non-existent armies into battle flood into our minds.
Aguirre, the Wrath of God paints a searing indictment of those who would forsake everyone in their vicious quest for power, and serves as a deadly warning to those who would attempt to indulge their insane fantasies. Herzog suggests that whatever mad dream a greedy villain may possess, the forces of nature will inevitably shatter it to pieces, along with those who follow. We can only hope so.
On: 2006-02-21
One of the greatest films ive ever seen. Hypnotic, dreamlike but brutaly real. what an experience
On: 2006-02-12
While watching "Aguirre, The Wrath of God" I was struck with an analogy to Joseph Conrads "The Heart of Darkness". The deeper Don Lupe de Aguirre (Klaus Kinski) and his colleagues venture into the jungle in the quest for the fabled land of gold -- El Dorado, the more life around them ceases to be.
It is not so much nature and the Indians that devour them, rather it is Aguirres greed, selfishness, pride and intolerance that leads to their un-doing. In the end, when Aguirre stands alone on a motionless raft full of monkeys and corpses, he realises he is the cause of their deaths. In recognition of his sins he proclaims "I am Gods wrath". In a vicious, paranoid-psychotic-megalomaniac way, Aguirre acts as though he were God; he is ruler and punisher.
Had Herzog intended this to be a definitive documentary on Gonzalo Pizarros expedition, I would fault the historical accuracy of the film. However, in so much as it is an art film with a moral lesson, it is irrelevant that Pizarro actually died eight years before this story takes place and another priest, not the Dominican monk Gaspar de Carvajal, recorded a similar fate from another journey. Nevertheless, we get a feeling of what European conquest must have been like, especially when one realises Herzog pushed his actors and crew to experience it first hand.
As for photography and symbolism, Herzogs opening footage of the Spanish conquistadors, their entourage and prisoners cautiously descending along a mist enshrouded footpath in the Andes paints a dreamy, other worldliness that foreshadows their imminent downfall. As they progress deeper into the Peruvian jungle, the camera projects the impression that the actors are minute and insignificant against its immensity. Even their rusty armour appears authentic and hints of the decadence and their impending fate.
To appreciate the actors performance more, I would recommend listening to the movie in the German language, not English. The cadence and intonation of their words matches their emotions and body language better.
The DVD package itself features an audio commentary by Werner Herzog, subtitle and language menu in English or German and biographies on Herzog and Kinski.
On: 2006-01-22
This is only my second time writing in the Amazon jungle. And I think it is fitting that the movie AGUIRRE was shot in the same jungle and that it is such a good movie. I dont know how Werner Herzog got that boat over the mountain! This is an achievement to be sure. So one star because of the boat. And one for Klaus Kinski just for having that face of his. And one star because he made a good daughter. And one star for the monkeys on the raft.
And one final star because this is one of the greatest films ever made.
On: 2005-11-24
Aguirre, the Wrath of God is just a brilliant film from beginning to end. It is the story of a Spanish expidition gone horribly wrong when a madman, Aguirre (Klaus Kinski), commits mutiny and takes over a search for the city of El Derado. This is the city of gold, a myth created by the native Amazon people to lure explorers into a trap. This movie is a fascinating study of greed and power, and how delusional human beings can become when they feel they have the worlds riches at their hands. While watching the film, I realized that Francis Ford Coopola had stolen some of the images from this movie! Coopola stole images and shots from this movie and used them Apocalypse Now. How surprising to see that some of those images in Apocalypse had been long thought up before! Nonetheless, this is a film definately not to be missed by the film fanatics. It is quite a visionary and bone-chilling fim. I had never even heard of it until several months ago.
From the opening scene, when the natives and Spanish exploreres are walking through the misty mountian, to the final scene, where Aguirre is left all alone on the raft, this is an unforgettable cinematic experience with a hair-raising performance by the one and only Klaus Kinski.
On: 2005-11-19
I think Aguirre the Wrath of God is impressively insane. It has that feel for being caught (and then lost) in an endless, inescapable landscape. Be it traversing the mountains and cataracts, or on the wide, flat Amazon river drifting interminably between impenetrable jungles - feeling the unseen eyes of hostile natives constantly watching you - the atmosphere of this story started out dangerous and simply crazy, and then things just got steadily worse and worse, until they got as bad as things can get! I loved it. Cinematic art doesnt get much better than this film, imho.
On: 2005-10-01
An army of conquistadors searching for El Dorado in the jungle finally decide to stop, sending a small group ahead to search for El Dorado independantly and return with a report in one year. After the group runs into many troubles, a spirited and largely egotistical man named Aguirre mutinies and takes control of the group, quickly becoming obsessed with discovering El Dorado for himself and becoming a god in his own right.
This movie has many fine things working for it that add up quickly to make an appealing and enthralling movie. The on-location shooting does more than reveal the merciless world they were trying to conquer, it hems in even the camera and the action into one long act of pure claustrophobia. Great acting creates utterly believable characters, and directing and cinematography enhance the experience.
Stranger is the writing. Obviously, being conquistadors, these were very obsessed folk, enraptured in the idea of glory on earth (gold) and in heaven (spreading Christianity). Herzog does not let up on their personalities, and comes at many times close to making the characters rather unbelievable. Luckily, the few spikes towards pure nonsense are rather Absurdist in a good way, and definitely show the destructive power of the self-righteous greed of humanity, yet it all seems to be placed very realistically. Modern day audiences will find it difficult to relate to these characters, though they can still understand them.
Either this is brilliance or just over-the-top. I cant decide which. Im willing to bet its largely a matter of opinion.
One thing is for sure: while it lasts, its a great movie. After it ends, though, it may be hard to come to terms with what one has just seen.
--PolarisDiB
 On: 2005-09-21
Well, they didnt mess up the scenery at least. They got that wondrfully right. Bad script, bad direction, and even worse acting. One wonders if Kinski & the cast came from a frontal lobotomy ward. They wouldnt seem out of place there anyway. Pretty/painful.
On: 2005-09-20
Well, they didnt mess up the scenery at least. They got that wondrfully right. Bad script, bad direction, and even worse acting. One wonders if Kinski & the cast came from a frontal lobotomy ward. They wouldnt seem out of place there anyway. Pretty/painful.
by: snalen On: 2005-09-15
This film is set in the early 1560s in the depths of the South American rainforest. An expedition sponsored by the Spanish crown is wandering around looking for Indians to convert and, more urgently, for gold, having heard rumours of the putative guilded region of El Dorado. Some aristocratic women are among them who cannot be expected to walk so they are hauled by Indian slaves in sedan chairs over huge and precipitious mountains passes, along with heavy artillery and all sorts of other stuff. Eventually the reckon they are hopelessly lost so they send of a group of 40 or so to reconnoitre buy raft under the leadershop of Don Pedro de Ursua (Ruy Guerra). His second in command is a certain Don Lope de Aguirre (Klaus Kinski) while the Spanish royal house is to be represented by Don Fernando de Guzman (Peter Berling). Things to not go well. Rapids and hostile Indians take their toll. After a bit Ursua decides its time to head back to the main party. Aguirre begs to differ. He thinks they should forget the main party, carry on down the river, find El Dorado, conquer it and establish a mighty empire. He wins out, Ursua is made a prisoner and Guzman is declared to be Emperor of El Dorado. A solemn declaration is read out declaring the Spanish king dethroned and obliterated. Down the river they go, deeper and deeper into impossible wilderness still solemnly announcing to no one in particular their annexation of every inch of land.
This is a fabulous film. I first saw it at the cinema when very young and it blew me away. Seeing it again lately it is still just as good. It has a mesmerizing, dreamlike poetic feel that many arty films try for and hardly come close to so triumphantly achieving. Its a highly original story but as a film in which agents of imperialism going down a river surrounded by alien jungle wilderness and being engulfed by madness, it comes far closer to the mood and spirit of Conrads `Heart of Darkness than does Coppolas far more self-conscious echo of that great novel. Herzog is here at his very best and Kinski is perfect as the demented megalomaniac lead. Its dark, beautiful stuff. The closing few minutes in particular are unforgettable.
(And doesnt it all sound so much cooler in German: Ich bin der Zorn Gottes!)
 On: 2005-08-29
This movie was not what i expected at all. I had liked fitzcarraldo much more, and i was hoping that this movie would be up to that standard. It drags on and on, with some pretty bad acting. Given the time that the movie was filmed, the special effects were understandable, but in the end i wish i had rented it, instead of buying it.
On: 2005-08-03
The timelessness of "Aguirre, the Wrath of God" should not be lost on us. Set in Amazon jungle centuries ago, conquistador demigod Aguirre is accepted as leader because he always moves forward, for better or for worse. Aguirre likes ownership a lot. At the same time he finds religion useful as a power tool. Currently Im afraid if "Aguirre" were shown at mini-malls, the moral majority would say "Those darned Indians!" The "Aguirre" soundtrack by Popul Vuh is my personal favorite - a synthesizer symphony encompassing beauty, ambition, madness & failure.
On: 2005-06-22
There is not doubt Werner Herzog is an extreme romantic; a voluptuous temper who has told that many of his films come from painful experiences and for who a film must always have a strong and profound link with reality, and this is the reason that Herzog doesnt like to work inside the film industry and most of his movies are documentaries, or fictions where he uses documentary techniques. Hes almost everything has been said about him: a poet and an adventurer, a lucid dreamer, an antiracionalist philosopher, an anthropologist interested in living cultures and an itinerant cinematographer searching for marginated people, authenticity and the "weird ".The characters of his films are usually outsiders, dreamers,lucid lunatics, quixotesc adventurers or megalomaniac conquerors as is the case of " Aguirre, Zorn des Gottes ".Inspired in the historical character of Lope de Aguirre and shot in the Peruvian jungle, the film narrates the story of a band of spanish soldiers led by the irate Aguirre ( Klaus Kinski )who go up the Amazon in quest El Dorado, the fabled city of gold. But soon heat; hunger; the despair and the gradual suspicion that they are looking for a ghost;the latent menace of the invisible natives,hidden in the jungle,who attack them with poisoned arrows and the tensions of the travel due to the distrust between the soldiers,internal struggles for getting the leadership of the expedition and the delyriums of greatness of Lope turns it into a trip ruled by madness, brutality and death. Shot partialy in a documentary style, the greatest achievement of this mesmerizing film is its hallucinated climax: Herzog interrupts the narration in a deranged atmosphere of irrationality and surreal and brutal deaths with Lope on a rudimentary raft surrounded by the corpses of his daughter and soldiers in the middle of a turbulent river while the camera gradualy approaches drawing fast circles around him.
On: 2005-06-09
When you rent this DVD, be aware that there is a second version of the film that you can watch, after youve seen it once. This second version lets you sit in the room as the director himself is being interviewed throughout the movie, as he watches it with you and comments about it.
From this interview we learn that most of the scenes were shot only once, that there was almost no money and very little time, that much of the action was determined nearly on the spur of the moment. A storm or flood damaged the set overnight? Use it as part of the story. The director comments that composing a storyline in advance is not his style, and that it would kill the spontaneity of movie making. Also, a video camera was stolen in order to make this movie. The director doesnt consider it theft. He considers it the appropriation of something needed, more or less like Jean Val Jean swiping a loaf of bread.
There are remarkable and excellent reviews of the film on this site. Dont worry about spoiling the plot. The plot really isnt the point. The experience is the point.
In short, it is a German language film but it is set in South America at the time of the conquistadores. They are searching for the city of gold, which they believe is near Macchu Picchu, where they begin. One unit of conquistadores sails down a tributary of the Amazon River, intending to claim all the land they see as their own. They are using Indian slaves. They are, as we know, rapacious bastards and cruel religious fanatics utterly and insanely convinced that they know the one true god, and that the Indian people are basically worthless, to be exploited.
This unit, on its raft, is taken over by a crazy s.o.b. named Aguirre, played by Klaus Kinski, who the director explains was actually a crazy s.o.b. in real life as well. Aguirre is an alternate Hitler, in another time and place. He is a megalomaniac intent on ruling a vast empire, a man unbothered by conscience, a man obsessed and insane, out of touch with reality.
Aguirre is a mellow Hitler most of the time, though his crab-like sidling walk whispers to you that he is nuts. He doesnt tend to shout, except in one memorable scene which I will describe.
There is a lady on board the raft, the wife of the appointed leader of the expedition, the wife of the man that Aguirre has mutineed against, the man who Aguirre shot and wounded. She scolds Aguirre, warns him that she knows that he intends to do further harm to her husband, that God will punish him for that. Aguirre doesnt reply to her. He backs away. A horse is in his way, on the raft. He takes his anger out on the horse, yelling at it to get out of his way. The horse immediately falls down, apparently as a result of being yelled at by Aguirre, though the director explains to us that the horse was tranquilized, causing it to fall at that moment.
The religious fanatics are ridiculed by the director, as well they should be. In one scene, an Indian is handed a Bible and told that it contains the word of God. The Indian, who obviously has never seen a book before, puts the Bible to his ear, doesnt hear the word of God, and says so. For that bit of blasphemy, he and his wife are killed.
The religious leader of the conquistador unit lights up any time that gold is mentioned. He gets a crazy gleam in his eye. Its pretty funny to watch.
Perhaps my favorite moment in the film comes near the end, as Aguirre follows around a band of monkeys on his raft, picks one up, speaks to it, and tosses it. Youve got to see that.
You also have to see the scene where Kinski is fantasizing about the empire he will rule, an empire of purity, pure because it will be founded by him and his own daughter in an incestuous relationship, thereby keeping the bloodline pure. That is a wonderful comment by the director about Hitlers vision of racial purity and Aryan supremacy. To underscore the fact that Aguirre is nuts, as if his vision of an entire nation descending from himself and his daughter isnt enough, we have the small but relevant fact that his daughter, the future mother of his children, is already dead.
There is a lot of carnage and death in this movie, but it is handled so quietly. When people get shot, whether by arrows or guns, they make no noise and they seem to feel no pain. Ive never seen anything like it. One fellow, a black slave, notices that an arrow has just pierced his leg, and just tells himself that it is all an illusion. Another, having just been run through by an arrow the length of a spear, simply comments that long arrows seem to be coming into fashion, and then he dies.
To put this film in perspective, lets explore what it would have been like had it been made in Hollywood. Hollywood would have given us a hero to root for, a victory to cheer for, and a romantic interest for the leading character. Im so sick of it.
So many movies can be summed up with the exact same description. The hero faces overwhelming odds. He is almost defeated, but he eventually overcomes the enemy. He also gets the girl. The end. Whenever I see that plot redone I feel like saying "what a piece of garbage".
Aguirre is not garbage. It is an original work of art. Thank you for that.
Many moviegoers wouldnt enjoy this movie. It is too slow-paced to keep their attention. It isnt the cinematic equivalent of soda pop. But I enjoyed it, and since you are on this site, you probably would appreciate it too.
On: 2005-06-07
Herzog wasnt sending us questions or whatever. This movie is way deeper than that. This is some of the truest art Ive ever seen, the kind that makes you sick in the stomach. I was paralyzed for hours after watching it the first time. This is the raw stuff of humanity. Think Heart of Darkness or The Sound and the Fury or King Lear. Yes, its that good. I assure you. Ecce homo.
Watch it now, especially if you would say youre of philosophic mindset.
By the way, this IS presented in the original aspect ratio. Herzog made his first few movies with a handheld camera he had stolen in Germany, this being one of them.
by: dave3679 On: 2005-04-24
This is one of those rare instances where a films director and star are in complete sync with one another to create a work of lasting importance. Director Werner Herzog does not beat you over the head with the theme of unbridled arrogance and madness in a place where rules of civility dont apply. He lets the story and situations develope until they reach their inevitable conclusion. Klaus Kinski, as Aguirre, is with Herzog every step of the way. He does not telegraph his characters megalomania right away. It slowly grows as the group of explorers under his charge wither away and the true nature of his insanity is revealed through voiceover in the end. Other reviewers have mentioned the parallels between the conquerors of the New World and Nazism. What accentuates this connection is watching "Aguirre" with the German language track instead of the optional English language track. At one point somebody refers to the nobleman in Aguirres party as "Der Fuhrer". By all means opt for the German track for a more rewarding experience. This film also boasts excellent cinematography, moody naturalistic sound, and authentic Native American woodwind music.
On: 2005-04-11
This very powerful, unforgettable, and hypnotic masterpiece by the great Werner Herzog will leave you speechless! Although filmed on a shoestring budget of only $360,000, Herzog crafted a superb tale of madness and greed, and Klaus Kinski gave perhaps the finest performance of his career. The supporting cast members, although Id never heard of any of them before, were also quite impressive. The atmospheric and haunting music by Popol Vuh only adds to the films gloomy mood. This is without a doubt one of the best German films ever made!
The film begins on December 25, 1560. The Incan empire has been slaughtered, and conquistador Gonzalo Pizarro now leads his army over the Andes mountains on his South American expedition. He divides his forces, sending Don Lope de Aguirre (Klaus Kinski), "The Wrath of God", on a perilous mission to find the mystical "City of Gold", El Dorado. But almost from the very beginning the mission has problems. Native slaves with the expedition die quickly from colds and lack of food, and one of Aguirres rafts is lost, along with all the men on board. Aguirre continues on rafts down a treacherous river with an ever-decreasing number of men (along with two women, one being his daughter), as nature and the hidden native warriors in the jungle take their toll.
Eventually, Aguirre is down to just one raft with a pitiful, sick crew, but he only thrives on their suffering while continuing his mad, futile, search for El Dorado. To say any more would spoil the ending. The hauntingly beautiful cinematography is one of the strongest components of this masterpiece. The on-location filming in remote Amazon jungles and the grainy, handheld camera footage helped to create an amazingly realistic setting while the music and cinematography created the surreal mood of the film. One can view this stunning film as a different take on Joseph Conrads novel Heart of Darkness, or as a different take on Naziism. Either way, this is not a movie to be missed! The dvd has a great picture and sound quality and the bonus features, especially the commentary, are very enjoyable as well. Highly recommended!
On: 2005-03-08
"Aguirre: The Wrath of God" is one of those films that lay beyond the pale of critisism.
Shot for nothing, Herzogs truculant vision of religion and mindless greed gone mad in the jungles of South America-- is one of modern cinemas great statements.
Are these the children of Naziism (and a part of a totalitartian mind-set that will echo down through history) or, are they just misguided pawns? Are they just storm troopers in search of gold and El Dorado, or just fools? These are the questions Herzog throws at us.
Klaus Kinski gives one of the great perfomances in film history as the deluded mad assassin of Spains hubris.
The opening scene remains one of cinemas great set pieces.
Fans of uber-cinema should not miss this masterpiece.
On: 2005-02-15
An absolutely magnificent movie, utterly enthralling. Get nice and stoned, turn off all the lights, and let this baby roll. Just wait until a scene about 5 to 10 minutes into the movie when the camera just stares at the river rushing for about a minute. That is my favorite scene in the movie. Try to figure out why.
Over and out
(The Professor recommends: "Withnail & I", perhaps my favorite movie of all time)
On: 2005-01-14
Watching this movie is like watching a group of people voluntarily step off a cliff together. One is appalled, yet fascinated, by the descent into madness & self-destruction, not by one madman but by the entire expedition --- clearly Herzogs commentary on Germanys embrace of Naziism, but unfortunately an all too relevant reflection on many current events.
Really, who cares if the film is grainy & the editing a little choppy? If you want slick production values, go watch a Jerry Bruckheimer film. The obvious shoestring budget has little impact on Herzogs ability to mesmerize the viewer, right from the opening scene down to a monkey-infested raft floating into oblivion.
One wonders what Herzog might have done with a bigger budget. The historical Lope de Aguirre was even more appalling than Herzogs version, cutting a swath of destruction & mass slaughter of Indians in South America before he was captured and shot for treason. Herzog could have been more gruesome than he was, but there is no real need. Watching a group of men (who should have known better) head down a path towards obvious destruction because of greed and a hunger for power is pretty compelling stuff on its own. The obversations on the human condition never fail to find their mark.
On: 2004-09-02
Expecting some grand period epic and find instead a shallow portrayal of loose historical events. The opening sequence photography is great, the rest looks like a low budget handheld with little attention paid as to the value of setting. Aguirre appears little more than a swaggering drunk with no purpose or motivation. The touted descent to madness is little more than a few idle comments in the last 5 minutes of the movie as the story line never finds closure. If you want to see some good Herzog get Fitzcarraldo, looks like he just slap dashed this one together to get out of a loser project.
by: rivalax On: 2004-07-23
Herzogs loose adaptation on an obscure 16th century Spanish expedition that disappeared in the Amazon basin in search of the legendary city of El Dorado. Filmed on location near Machu Pichu with locals as extras, the merit of the film goes into the direction and the acting as opposed to film quality. Produced and directed on a college-level budget (Herzog actually had to steal his alma maters filming equipment for this film), the film quality is somewhat coarse and similar to cameras and film used for documentary footage. Another drawback is that its only in mono and has no dolby or other stereo sound options. Despite these technical limitations, Herzogs choices of scenes, pacing, and editing, along with Kinskis superb acting, result in a brilliant film. The theme of unchecked ambition leading to madness and eventual oblivion is beautifully carried by the plots depiction of how the overconfident explorers, led by their greed, drift, fight, and decay ever further into the wilderness. With King and Church far away, Aguires promise of gold and power leads a small group of deluded followers to mutiny and eventual oblivion. As their voyage progresses and the further the characters are removed from any shred of civilization, madness seems strangely sane and the unending lust for power somehow satiable. Also visible are the thematic parallels with the megalomanic rise and inevitable destruction of Nazi Germany. The synthesized droning background music adds to the sense of delirium and to the films dreamlike qualities.
by: shazam On: 2004-07-10
I am new to Warner Herzog, and "Aguirre: The Wrath of God" is the 2nd of his films that I have seen. Like many directors with strong artistic visions, I have found his style a bit hard to adapt to but I am appreciating it more and more. The grotesque colors he uses are particularly noteworthy, lending a feeling of unreality that contrasts with the naked realism of his films. The visual images are haunting, and linger after the film is over. The Wrath of God and 400 little monkeys..."Aguirre: The Wrath of God" is by no means an easy film to get into. The characters are brutal and uninviting, and it is impossible to sympathize with their plight, the conquest of the native peoples. Like the river they travel on, the armored conquistadors move slowly but relentlessly forward, pieces of their humanity and sanity falling off along the way. At one scene in particular, the soldiers dispassionately watch their fellows trapped in a river eddy, discussion whether or not they should attempt a rescue with no more urgency or care than wondering if they should have coffee or tea. The peruvian natives are equally unsympathetic, picking off the soldiers slowly from the jungle, invisible and dangerous. One can see the influence it must have had on"Apocalypse Now." People call this film dreamlike, and that maybe, but it is also brutally realistic, dirty and harsh. There is a sense that this is exactly what it would be like. There is a definite sense that animals were harmed during the filming, and that people were harmed as well. No camera trickery or artistic license is taken. All deaths are ignoble. Klaus Kinski, as Aguirre, is an uncharismatic Richard III,. slightly hunchbacked and ugly, leading his followers down a mad path that can have only one destination.
by: dvd_smurf On: 2004-05-29
On the eastern slopes of the Andes during the Spanish expedition , Gonzalo Pizarro urges his men to continue through the thick Amazon forests despite the dangers within the dark and humid jungle. The tale of Pizarros venture begins with an ominous warning as it is revealed to the audience that the only surviving evidence of the expedition is a journal kept by Brother Gaspar de Carvajal, a monk who travels to spread the gospel of Christianity. This bleak foreshadowing induces an inching uneasiness into the mind of the audience. This is enhanced by further looming incidents such as native slaves dying like flies from simple colds and food shortage. The low supply of food leads to a decision to split the group where one group should return for provisions and the other should continue searching for a gold shimmering city. This tale then follows the ill-fated who continue the journey for the legendary city as they are drawn deeper into the cruel world of the Amazon. Deaths of several men forebode the grim future of the expedition, which the leadership wants to call off and return to the safety of civilization. However, Aguirre (Klaus Kinski), a high ranking soldier, commands a rise against the leadership based on a proud vision of greatness and worldly riches beyond imagination that drives him to thrust deeper into the unexplored rainforest. Aguirres vision draws the expedition into a personal realm of madness and destruction, which leads to only one certain fate.
Aguirre: The Wrath of God has a lingering effect on the audience as the eerie atmosphere created by Herzog persists from the initial shot to the final scene. There are several components that generate this bizarre ambiance of the story such as cinematography, idiosyncrasies, mise-en-scene, and performances by the cast. The cinematography is simple and sometimes documentary-like, which produces a real feeling. This real feeling together with the uncanny knowledge of the unavoidable doom enhances the extraordinary atmosphere of the venture. The complete portrait of the character Aguirre by Klaus Kinski is nothing but spectacular. Herzogs choice of mise-en-scene is delicately chosen as all the items had to be transported by the expedition. Each item within each frame displays a significant symbolism such as the horse and raft, which adds new layers to the unnatural atmosphere. Lastly, the performances by the cast are outstanding as it is not the dialogue that drives the story forward, but the visual manifestation of their being that elevates the outlandish impression of each scene. When Herzog combined all the aspects of film-making in Aguirre: The Wrath of God he left the world a brilliantly eerie cinematic experience that will leave several notions in reflecting minds.
by: overthemoonamazonreviewer On: 2004-05-25
Wraith of God was actually made in 1972 in German and got its US debut in 1977 and provided Coppolas Apocalypse Now (1979) with a vision. The film is pure art through and through using the Amazon River as a backdrop for the epic tale of Spanish conquistadors finding themselves abandoned in South America on a quest to find the legendary city of gold `El Dorado. Set a few decades after the Inca Empire has fallen in the 16th century, these troops of Spanish explorers have been selected by the head explorer for the region, and founder of Mexico - Pizarro, to find the lost gold. Within a few days of being on the Amazon the conquistadors are split on the rapids. Soon there is a mutiny, murder, revenge and betrayal as the dreams of vast wealth and power drive all of them to their doom.The combination of Kinski and Herzog is electric. Here, on a shoe-string budget, they make mountains out of nothing as Tarkovsky did on `Stalker. The costumes and sets are all obviously mostly made by the actors and whatever film crew that would actually risk hanging around Herzog and Kinski for the gung-ho shoot. This is kino-arts rendition of Hearts of Darkness. The actual suffering of the film crew (and some cruelty to animals - several horse falling scenes, the pillaging of a village with an attack on pigs and a monkey being thrown aside) is clearly visible in the narrative which borders on extreme adlibbing most of the time as well as hard labour (moving a cannon on a small wagon around the jungle, building rafts with a toilet on board and living off the land). The improvisation though is classic in every sense of the word making Herzog and Kinski instant important additions to the world of high profile art film makers. The cinematography is spot on. The majority of it is hand-held but the images of the jungle are striking and the final shots of the circling raft are sublime. Seeing Kinski chasing monkeys around the raft is also some of the most memorising and breathtakingly remarkable scenes in cinema. The film is one of the most unusual you have ever seen and becomes psychotic towards the final stages showing the craziness of our characters search for the gold - a reflection of the exertions of the crew and actors. Kinski is outstanding as the deranged Don Lope de Aguirre who trying to follow in Pizarros footsteps even manages to take his family into hell with him. There is an excellent plot element involving a mock trial with a monk as a judge and the crowning of a pseudo-king that will have you in disbelief. The film is so lucidly insane that it will captivate you within the first few minutes. By the time the credits role you will have experienced an epic completed with a few actors, a raft, some animals and natives and yet have witness something as grand and epic as `Spartacus. Herzog is a crazed genius and the world is his strange colloid laboratory. `Aguirre is up there with the ranks of `Andre Rublev and `Apocalypse Now however Kinski and Herzog did go one better when they made `Fitzcarraldo(they tow a steam ship up a mountain... really!). The aspect ratio of this film is 1.37:1 meaning that it is not in widescreen or letterbox, but it was originally filmed as a square almost (fitting television perfectly). The transfer is extremely good although I believe that this is not a new transfer and was probably encoded from a very good master video tape (Beta SP) for German television broadcast and not from a 35mm film print. No one is complaining though because the quality is extremely good. The extras (documentaries, commentaries) are a must. By the way you can get the Kinski/Herzog box set of 6 films for a few quid extra than this stand alone DVD. Go look for it.
by: kgitt44498 On: 2004-05-16
"Aguirre, The Wrath of God" is one of director Werner Herzogs most memorable movies, and was written in 2-1/2 days and shot in five weeks. He was 28 years old when the movie was made in 1971 on a budget of $360,000. The film includes one of the most spectacular opening and closing scenes in film history.
Shot in a hand-held documentary style with a stolen 35mm camera (that was used to make 9 movies) there are many catch-as-catch-can takes or extended shots, as well as some stylized, almost still-life shots. Truly impressive cinematography by Thomas Mauck. The film was shot on location is South America, partly near Macchu Picchu (for the dramatic opening), and subsequently takes place on wooden rafts going down the river on an expedition by Spanish conquistadors.
----> WARNING - SPOILERS
In the movie, one raft and some men are lost in the eddy of a river, and more rafts are lost as the river rises overnight. The party divides alliances, and Klaus Kinski, as Aguirre, takes over. They continue down stream in search of food, which they can not find in the flooded jungle. They raid an abandoned village, then continue down stream. At one point, Aguirre rants and raves, then turns and gestures at a horse on the raft, making it collapse. Aguirre orders his opponent killed out in the jungle, and subsequently that mans wife simply walks away into the jungle rather than stay with the rest of the men. Aguirre officially takes charge of the remaining men with a brazen speech involving threats to cut deserters into 198 pieces, then trample them until they can be used to paint walls. Continuing their merry way down river, the men begin to get shot at with spears and arrows from the edge of the river. Eventually Aguirres 15-year old daughter gets shot and dies in the cleanest, least painful death you will ever see on film. Aguirre finally goes completely off his rocker and annouces to the only living beings on the raft - 400 small monkeys - that he will marry his daughter and start a dynasty to take over the continent.
This is but a brief synopsis of the movie, obviously. It is pretty slow going, but never boring. The location itself is incredible, and Kinski is his usual blustery powerful self. Unusual score, too. In German with substitles, or dubbed in other languges including English. A bit pricey, and not for action-movie afficionados, the DVD has an excellent commentary by Herzog and another film buff.
"If I, Aguirre, want the birds to drop dead from the trees, then the birds will drop dead from the trees. I am the wrath of God!"
On: 2004-05-14
I dont care what anyone else writes herein; this is a bad film, a poorly made film, and Kinski is overtouted and overlauded as being a "great" actor, where I dont see anything "great" at all! As for the other actors in the film, theyre AWFUL. Horrible. I usually never get so irrate about any movie, but after hearing Herzog praise his "artistic techniques" in the commentary, I wondered if he was sane. Werner, please!
While I loved Herzogs film Nosferatu, I seriousely could not understand the fascination with this film at all. Despite this, I do think this could have been a great film when you realise how many possibilities Herzog had at his disposal, but in actuality, it just looks clumsily made; and Kinski, whom I usually find arresting, is only to be found frightening horses and torturing monkeys, all the while gazing in a catatonic stare. (And let me add again: the acting by the other actors is HORRIBLE.)
Poorly made, poorly conceived, poorly acted. The only nice thing about the movie is the music (by Popol Vu) and one or two images of the rafts going downstream . . . otherwise, forget it!!
by: higopa On: 2004-05-07
Werner Herzog was in the seventies togeteher with the unforgettable Fassbinder, the alpha and the omega in the germany filmography of those film makers born at the end of the world war two.
Herzog has always been a high risk director. He liked to walk in the knifes edge in every film he made in those years.
But what Herzog got with this work fullfilled with superb cinematography, edition, casting, script, was something unbelievable.
In fact if you analyze carefully like me , that I ve seen all his following works, its useless to state this is the masterpiece of Herzog, even Fitzcarraldo, filmed also with Kinski years after.
The powerful script with the Amazonas river as natural frame, the huge realism in that overpower sequence in the river with those men who are caught in circles night and day, that amazing answer who gives the priest as request to Don Pedr de Ursua when he repplies: Youll know that the church has been always with the power, such answer in the midle of the jungle, the trip around the river and the progressive growing of emotional euphoria, the madness, the sense of gretaness in the midle of nowhere, the slow decay of the reality and the final fall with monkees as his loyal servants, the work of camera , makes that film sublime, unique and one of the most supreme examples of how to make a film now and ever.
If you stiil havent seen this movie, dont waste just any minute of your time and buy it. Youll see like me at least twenty five times and will get always something new, so typical of the masterpieces.
Kinski , in the peak of his craft. There were not enough prizes in the world enough worthy to gratify this performing.
On: 2004-04-20
I dont want to get into the details of this film,read other posts.I just wanna say WERNER HERZOG is the one the worlds greatest,boldest,visionary film makers.I put him up there with KUBRICK and KUROSAWA.I think hes a real poet.I Suggest seeing all his films.Hes my favorite of the German Cinema Big Three,(FASSBINDER,WENDERS AND HERZOG).Mr. Herzog is a unique and fascinating artist.
On: 2004-04-14
Enough has been written here of the movies virtues, of its subtlety and gloomy charm. I just want to share the memory of the very last scene, the scene any viewer will find unforgettable: the ragged raft on the brown Amazon; the lush, green indifference of the jungle bordering it off; a swarm of tiny monkeys scuttling over the rusty cannon, between languid corpses and strewn, broken junk; a transcendent blue sky; and the lonely, so very lonely-hopeless-defiant silhouette of Aguirre wandering and stumbling in circles with his purple shirt sleeves dangling and an absurdly large rapier on his belt, the hilt level with his chest. He is the last man on this earth. He wanders, and wanders, and wanders...See the film.
On: 2004-02-18
In this spare and understated film, wisely stripped bare of spectacle, the collaboration of Herzog and Kinski achieves its full visionary potential. The images in the opening scenes of the conquistadors - incongruously armored and overburdened for their trek, descending the rugged Amazon mountains and staggering clumsily with a large cannon and a sedan chair through dense rainforest - are nothing short of arresting. Their glazed facial expressions speak volumes about the Sisyphean absurdity and futility of their struggle to reach El Dorado. When Herzogs narrator laments, "The Indians we enslaved in the mountains are a mistake. The change in climate is killing them like flies. And we have no time even to give them a Christian burial.", the stage is set for a brutal, tragic outcome. Under the sway of Kinskis mad Aguirre, the Christian sensibilities of the conquistadors quickly devolve into barbarism. Popol Vuhs soundtrack is a perfect complement - at once haunting, brooding, and mesmerizing (somewhat ironically, Popol Vuh is also the name of the sacred Mayan Book of Creation). This is a film to be savored and pondered many, many times.
On: 2004-01-23
First, the DVD itself. The print is a good one, but unfortunately, its a cropped print, the cut for television kind, so we lose about 15 percent of the shot on either side. Having said that, there is no letterbox version available yet, so this is as good as it gets. And it really is a great DVD for two obvious reasons. First, the film remains strong thirty odd years later. Secondly, its worth buying just to hear the directors commentary. Who, for instance, knew that Herzog wrote the script in two and half days on a soccer tour, and would have been finished a little quicker had his drunken goalkeeper not vomited over his manuscript? If thats where good movies come from, bring on the beer. The film has many strengths. Shot entirely with one camera, it gives off a sense of realism and intimacy that epics can only strive for. Herzog has taken many liberties with the story of Lope de Aguirre, but its simply not important. What you do get is an inspired vision of meglomania and delusion, transmitted in small visual details that show how powerful film can be in the right hands. A boat stuck fifty feet up in a tree, a group of chattering monkeys boarding the doomed raft, an outhouse poised above the running waters. It helps that Kinski is at the top of his game, ie, looking several cards short of a full deck. You can watch another thousand films and never see an actor better cast.
by: Anonymous On: 2003-12-04
Someone stated earlier that you should avoid this dvd as it is full frame and not widescreen. "Aguirre" was shot by Herzog in 33:1 aspect ratio, and there is no widescreen version of the film.
On: 2003-11-24
AGUIRRE, THE WRATH OF GOD - Werner HerzogJust do a google for this film and you will find it on a lot of respected top tens and endless reams have been written on the insane level of perseverance that Herzog demanded of himself and his crew in the making. The plot, as it may be, follows the path of a 16th century Spaniard expedition into the South American jungle in search of the fabled El Dorado (city of gold). Any number of parallels have been drawn between the story of the expedition and the actual shooting of the film for which Herzog herded a crew of 500 into unexplored wilderness, facing similar difficult conditions, including allegedly the possibility of starvation. The extent of this is evident right from the first take which shows a train of men and animals moving down a narrow mountain trail, a majestic fog swirling in the background. The film is shot with cameras normally used for documentaries, necessitated, I suppose, by the need for extreme flexibility in their handling, since quite a few shots appear to be taken from precarious angles, including a shaky raft in the river rapids. Along with the use of natural sound, it creates a credible documentary-esque ambience.
This party is an arm of the main Spanish conquest led by Pizarro, delegated to ascertain the existence of El Dorado and return immediately to the mainstream. It is led by Don Pedro de Ursua with Aguirre as second-in-command. After seeing no signs of El Dorado in the period allotted to them, Ursua decides to return to Pizarro, but Aguirre has other ideas. He instigates the men into mutiny and wounds Ursua. Naming the burly champion Fernando de Guzman Emperor of El Dorado, he exhorts the party into casting off their allegiance to the Spanish crown and joining him in the quest for the new land. Herzogs favorite actor Klaus Kinski plays Aguirre as a handicapped yet arrogant figure determined to crush the forest into submission and establish his own dominion. The men accept his will giving in to fear for their lives and greed for the gold, thus embarking on a quest that will eventually cost them their lives and their sanity. The film moves throughout in a purposely leisured step, mimicking the pace of the raft traversing still water. All around the forest (and its inhabitants) appears to be draw them into its trap, quietly mocking all their attempts to subdue it until they are done in by their own foolhardiness, leaving only Aguirre with his long-unhinged claims of coming down on the land like the Wrath of God.
This film has a veritable haunting quality in its visuals and the concluding scene showing Aguirre stranded on the ravaged raft with only a pack of (Deaths Head) monkeys as audience to his raving is one of cinemas memorable moments. On the negative side most of the characters other than Aguirre are, in my opinion, weakly developed, even nondescript, and take significantly away from the films emotional strength. Attempts to infuse a fatalistic humor (like a soldier who falls mouthing "So long arrows have come into fashion", and the head that finishes its last word after being severed) come off badly. At certain moments the film even struck me as an aesthetic non-gory "Cannibal Holocaust", but taking into account its many strengths, this is a fine and even memorable effort from the much-admired Herzog.
On: 2003-11-02
The off screen conflicts between German director Werner Herzog and volatile thespian Klaus Kinski during their many cinematic collaborations reached such epic levels that Herzog eventually made a documentary recording the details of this relationship. It isnt difficult to imagine that Kinski would be such a taxing individual when one looks at his film work, and it isnt surprising in the least that many of his roles dealt with men teetering on the brink of insanity. Kinski truly looks the part, with his crazy stare and unkempt hair swirling about his head. This actor went on to work in numerous low budget films before his death in 1991, but his films made with Herzog stand as a testament to greatness. The first of these collaborations is this film, 1973s "Aguirre, the Wrath of God," with subsequent projects appearing through the 1970s and 1980s. All told, Klaus Kinski and Werner Herzog made five films together: "Aguirre," "Fitzcarraldo," "Cobra Verde," "Woyzeck," and "Nosferatu." I cant speak for three of these films because I havent seen them, but "Fitzcarraldo" and "Aguirre" are spectacular achievements. If Herzog had never made any other films than these two, people would still consider him a great filmmaker. Its a darn shame more movie viewers dont know anything about Herzogs pictures.The plot of "Aguirre" is relatively simple. Its the sixteenth century, and Spain continues its conquest of South America. In its search for gold, conquistadors under the command of Pizarro set out to find the fabled El Dorado, the city of gold. The Spanish set forth with 1100 men and numerous Indian slaves, but rough rainforest conditions soon undermine the expedition. Before quashing the mission, Pizarro orders his men to break up into groups and continue down a river for a few days. If these groups of men find nothing, they are to return and the entire contingent will go back to "civilization." One of these smaller expeditions sets out under the command of a Spanish nobleman named Don Pedro de Ursua, along with Don Lope de Aguirre in the role of second in command. Toting along a priest in case the expedition needs to bring salvation to the natives, the men head off to their destiny. Problems soon emerge: traveling down a river in the rainforest isnt easy, and soon death and destruction rear its ugly head. When the time arrives to head back to Pizarro, Aguirre orchestrates a coup against Ursua in order to continue the quest. What follow is a rapid descent into madness, as the conquistadors elect one of the noblemen Emperor of El Dorado and run into one conflict after another with the local populations. Supplies run low, murder and intrigue abound, and famine follow in rapid succession. Aguirre ignores it all, pushing forward as his delusions of grandeur reach undreamt of heights. So many elements of this film work that its tough to outline all of them. Herzogs mania for realism led him to essentially launch a genuine expedition. Those soldiers trudging through the muck, carrying a cannon down a mountain, and sailing in a rickety raft are really doing it under those grueling conditions. If you think this isnt real, remember that this director hauled an actual steamship over a mountain in "Fitzcarraldo." Perhaps its no surprise that Kinski went nuts a few times during his projects with Herzog; I too might have cracked under these types of conditions. Along with the directors hyperrealism, the cinematography of the South American rainforests along with glimpses of local natives simply arrests the eye in virtually every scene. The haunting yet beautiful soundtrack by Herzog favorite Popol Vuh sounds better than the music they did for "Fitzcarraldo" a few years later. "Aguirre, the Wrath of God" isnt one of the best films I have seen recently; its one of the best films I have EVER seen. Madness and the pursuit of myth dominate the film, but I also noticed a few other ideas threading their way through the movie. The Catholic priest is really an intriguing character throughout the mission. Herzog shows the Churchs complicity and hypocrisy in the European campaigns in South America through this mans actions. The priest carries a sword and helps aim the cannon when Aguirre and his men raid a local village. Moreover, when a native stomps on a Bible during a failed conversion attempt, the good father orders the killing of the Indian and then promptly performs last rites over his bleeding corpse. "Aguirre" captures perfectly the moral ambiguity of missionary efforts among non-Christian populations during the age of discovery. Another element in the film concerns the attempts of Aguirre and his men to impose European political and social concepts in the harsh environment of the rainforest. The power plays, political intrigues, and the assassinations of various conquistadors mirror exactly European politics of the time. Jockeying for power is one thing, but doing so in the midst of dangerous rainforest miles from any form of civilization results in nothing but grief. Perhaps the madness of Aguirre is meant to represent in microcosm the madness of European ideas regarding subjugation and genocide. The DVD version contains an excellent transfer of the film along with bios of Herzog and Kinski, trailers for the film, and a commentary by Werner Herzog. I thoroughly enjoyed the effort Herzog and Kinski put into the project and you will, too, if you give this one a chance. A movie that fires on all cylinders, "Aguirre, the Wrath of God" will put you in a reflective mood after you watch it, and isnt that a sign of great cinema?
On: 2003-08-11
Although Herzog made some of the best movies of the German cinema, Aguirre stands out as the very best. Deep and brilliant allegory coupled with the genius/psychosis of Kinskis acting. This is the film that put both over the top.Amazing and hypnotic musical score by Popol Vuh, and tremendously gutty, but disproportionately dangerous and ill-advised filming in the Amazon. Herzog is one of the most brilliant directors in all of film, and often executed masterpieces with shoe string budgets.
by: Anonymous On: 2003-07-07
massive historical drama that only has a little to do with south american history, a lot to do with the nature of the human illusion of power. this movie, directed by werner herzog, has the director and his best "fiend" klaus kinski at the peak of their creativity, subtlety, and dense masterful layering of ideas. this movie is basically like a well cut diamond, the deeper you look into it, the more the many facets reveal themselves. this is a relatively short movie, about 90 mins., and about half of it is dramatic photography and slow moving music.
the look of the charactors, both spanish conquistadors and south american natives, is authentic, and a feeling of isolation and endlessness washes over every photo sequence of the amazon river and the thick jungle which encloses it. the charactors are going mad, and all but aguire (played by kinski) know that they will never leave the jungle and river alive.
the river itself comes across as a quiet, ruthless reminder of human mortality and the persistence of nature in light of "man"s attempts to interfere. the conquistadors are ruthless yet fully deluded, they cant even land on solid ground in their new "kingdom" because its all river and swamp and mud. for every indian they kill, one of their own is killed by an indian. they are going hungry and are dilirious with fever. the whole "exploration", the whole desire to "conquer" that hostlie land appears completely daft and ludicrous.
herzog take us on a trip into the delusions of the human mind, the cruelty inherent in "modernizing" the entire world,the pointlessness of materilism, and the paradoxes of the "manifest destiny" ideal and one sided religious belief.
i can only tell you to see this movie, watch it by yourself late at night and be amazed. the final scene is mind blowing, to say the least.
by: Anonymous On: 2003-02-20
...In this film, Klaus gives a characteristically intense performance with his greatest collaborator, Werner Herzog.Watch for the scene in which Klaus physically intimidates a horse to the point of making it fall down! Kinski was one of a kind.
On: 2003-02-16
Thats right! Although set in the 16th century, this moody and often frightening film is, in my opinion, a meditation on recent history. Using the metaphor of the journey of a small band of conquistadors through Amazonia, in defiance of the orders of their leader, Pizarro, Werner Herzog has created a parable about the descent of so many contemporary (as of the date of the film) countries into totalitarian insanity. At the beginning, the journey is about the hunt for gold and the discovery of new places. Once the fatal decision to disobey orders has been taken the descent into insanity picks up speed. As Aguirre replaces Don Pedro Usura all pretence at sanity and purpose fall away and the journey becomes a journey against all reason. Any bizarre action ordered by Aguirre is either joyfully complied with or, if opposed, results in death or expulsion from the group (resulting in death). Given the historic situation from which Herzog emerged, it is not too much of a stretch, I think, to see this film as a meditation on the rise of Adolph Hitler and the subversion into incomprehensible group insanity of an entire nation.As a pure piece of cinema, the film contains some of the most nightmare images I have ever seen. Its not easy to watch, even though it exerts an incredible hypnotic pull. Some of the images are intensely beautiful and the final image, of the completely mad Aguirre, drifting down the river on a raft, surrounded by the corpses of the last remaining members of the group (including the corpse of his own daughter) and by troops of monkeys, is a haunting Gotterdammerung.
On: 2003-01-01
I had all but forgotten this film until my best friend from Montreal asked me to track it down: it was all sold out in Quebec, where they love art-house films. This film is majestic to say the least and when I first watched it over 20 years ago, I admit I cried for the sheer beauty of it all. Herzog is brilliant in that he not so much creates a world (the jungle is already there to be filmed in its oppressive and lush glory) but draws you effectively into the mythical, elusive search for El Dorado gold in the 16th century. The journey is laborious and painful to watch and the film evokes a strong emotional response in almost everyone who views it. Youve only to see Fitzcarraldo to appreciate what it must have taken to get this on film. Ive just ordered Aguirre and cant wait to see it again - it is rarely on TV. This will be a treat for all serious film lovers as the music is beautifully haunting if I remember correctly, and Klaus Kinski is riveting in his mad quest. For years after I first saw it, I held no other actor in such high esteem until I saw Anthony Hopkins in "Remains of the Day". I cannot recommend this film (Aguirre)highly enough.
On: 2002-11-21
Klaus Kinski stars in this journey to madness, as Aguirre, a renegade leader of a Spanish party searching the jungles of the Amazon for the mythological city of gold El Dorado. Aguirre is off the deep end, and will kill to get what he wants. He forces his crew to build rafts, and continue to pursue forward, even with no sign of a positive end. They have to fight off native Indians, they even run into a village of cannibals. Aguirre does not just want the city of gold; he wants to conquer the whole continent. As more and more men die, it doesnt look like his dreams will come true.This film is brilliantly directed by Werner Herzog, displaying poetically the beauty of nature, and its amoral silence, as the Spanish crew go insane searching for gold, power and fame. The acting is wonderful, and we can see Aguirre slowly crawl deeper and deeper into a haunted prison in his mind. The crew display theyre fear and surrender to his command perfectly. The camera is put high above the mountains showing their decent; on rafts as they travel through rapids; and into the dark jungle as an execution takes place. This film rewards multiple viewing, and contemplation, so I give this 5 stars, |
