User reviews

... in his pursuit of the gold of El Dorado while exhibiting incestuous thoughts towards his daughter and a belief he is god - with a supporting cast of treason, mutiny, murder, slavery, cannibalism and monkeys: you consider yourself fortunate not to have been part of the Spanish, or indeed any countries ruthless empire building in the past.

You are however grateful, for the vision and inspirational insight brought to you by Werner Herzog, leaving you transfixed by the pioneers plight, surroundings (visual and audible), naivety and ignorance in their futile quest for immortality and riches. When you couple all this with the challenges of the films gestation, the time of its inception and the instability and unpredictable nature of Klaus Kinski; that it was ever birthed in the first instance turns it into a treasure worth discovering, or rediscovering if you've mislaid your ability to explore new cinematic horizons.

My expectations going in to this film were pretty high given its critical acclaim and reputation. Grizzly Man is the only other Herzog film I have seen and it happens to be my current favorite documentary of all time, so needless to say I was quite excited to see another film by him. And I'm happy to report that, although on a first viewing I didn't love it to quite the same degree as Grizzly Man, Aguirre: The Wrath of God definitely did not disappoint.

I was quite interested to see what Herzog's style would be like as a filmmaker working with his own script and actors rather than as a documentarian. Based only on this film, he definitely seems to have a very deliberate, methodical air to his direction. The entire film is very even-toned and it slides along at a steady pace that feels neither fast nor slow. There is definitely an emotional coldness to the film that feels almost Kubrickian. None of the characters are very relatable or likable; quite the contrary in fact - they are consumed by greed, selfishness and delusions of grandeur, our "hero" in particular. Thus, there is an emotional distance between the audience and the characters that is definitely reminiscent of a Kubrick film.

And ironically, despite the fact that I turned to this movie as my first Herzog non-documentary, the film almost feels like a documentary. The way the film is shot with hand-held camera and without any pomp or dramatization makes everything feel so real and authentic. It's very obvious that everything in the film was done for real on location and that is to its advantage as you really feel like you're there with these men rather than just watching a dramatization.

This ultra-realism also works very well in bringing the themes of the film through and making them resonate. The film is clearly about man's misguided and even delusional thirst for power. Aguirre embodies this more than anyone in the film - a man with very clear delusions of grandeur who fancies himself a god despite clear evidence that his expedition is futile and doomed to failure. Klaus Kinski gives a spectacular performance in this role which is even more impressive given his relatively minimal amount of dialogue. He just has such an ominous presence on screen, his face perpetually twisted in a snarl, and he becomes almost hypnotic to watch as the film goes on.

And it isn't just Aguirre. Essentially every Spaniard in the film engages in treachery at least once, including the holy man who utters one of the most searing lines of the film: "You know, my child, for the good of our Lord, the Church was always on the side of the strong." Ouch. These men commit mutiny, elect "emperors", make grand declarations of land ownership, and hold trials with their only audience being the indifferent tangle of vegetation and the raging river. The realism of the film perfectly captures how delusional these men really are as they parade around with their notions of power and fame in the middle of the jungle. Nothing could be further from the truth as they slowly succumb one by one, lost in a foreign and foreboding land. And their impossible goal of finding El Dorado, the imaginary city of gold, is the perfect metaphor for their delusion. A great strength of the film is that the way this theme is executed feels so universal. Herzog isn't just showing us the madness of these particular men in this particular scenario, he's showing us the madness of man in general. He showing us that these illusions of power are just that - illusions. In the grand scheme of the world and the universe, the titles of men are meaningless and transient.

Aguirre: The Wrath of God is a powerful film and an impressive achievement from a filmmaking perspective. However, it is definitely not a movie that is out to entertain or dazzle its audience. It is a film of ideas rather than plot or spectacle. Really the only criticism I can make of the film on a first viewing is that there were some moments of humor which felt a bit out of place given the tone of the film - a man makes a quip after being shot with an arrow or a decapitated head speaks its last word. There is definitely an absurdity to the film and you could argue that these scenes play to that, but I felt these moments perhaps went a bit to far and were too cartoony to mesh well within the film's fabric of realism. Regardless, it's a minor complaint which does very little to sour an otherwise excellent film.

Stunning, dreamlike film documents (in a somewhat documentary style), the story of Don Lope de Aguirre (Klaus Kinski), who leads a group of Spanish conquistadors into the depths of the jungle in search for El Dorado, the mythical city of gold. Beautiful cinematography and locations place the viewer into the heart of the jungle, where they witness firsthand Aguirre's descent into madness. Continually interesting and exciting, it features some of the greatest images ever committed to film, most notably the opening and closing shots of the movie.

"Aguirre, the Wrath of God": Werner Herzog is one of my all-time favorite film makers, and this is one of my favorite films by him. Actually taken from the diary of the priest who accompanied Pizarro's expedition in 1560, Herzog recreates the pretentious and self-deluded search for the "Lost City of Gold - Eldorado".

Herzog likes true stories...ones that are bizarre in their own right, but with his direction and personal vision, they become profound (and never optimistic). The camera work is always interesting (he single-handedly "patented" camera shots that don't sweep - they ("you") stare and stare - and stare - at a thing or person or place until it becomes abstract, intense, beautiful, threatening, profound), the scoring is always appropriate yet never expected, and his casting, often using the unique talents of the late Klaus Kinski, guarantee nothing less than an intense experience...even in a film like "Aguirre", which SLOWLY claws and slogs it's way along each and every slippery, dangerous, foreign mile of jungle.

It is clear Herzog 'focuses' on the ridiculously high beliefs humans create for and hold of themselves - that they could actually "own" anything, "conquer" anything, outwit that which they do not understand, and by sheer Will cause anything they deem important, to exist. Herzog is NOT a cheerleader for the history of humans, but he is a ponderer... and we are fortunate he does it on film.

Werner Herzog and Klaus Kinski's masterful achievement - Aguirre: The Wrath of God (Aguirre, der Zorn Gottes) is a rich and powerful film set deep in the the South American rain forest. Ostensibly a piece of historical fiction based on fragmentary evidence concerning one of the many ill-fated attempts to find and conquer the mythic El Dorado (a city of gold rumored to be anywhere from southern Canada to Patagonia), Aguirre operates on so many levels and reflects so many aspects of its story that it is difficult to convey precisely what the film is really about. It is too fictionalized (yet plausible) to fit comfortably in the "historical fiction" shoebox; the dialog is as much a presentistic bit of reflexive thinking as it is fitting for the historical context of the film; and the setting is so breathtaking that without a plot and without the brilliant concept and fantastic acting, the film would still be breathtaking and painful.

The opening scene, which very slowly depicts a caravan of Spanish soldiers, African and South American Indian slaves, burros, horses, cannons, and provisions making their way down a steep mountain path surrounded by miles of rain forest, is breathtaking and ominous, and sets not just the tone, but the pace of the film. Many people will find the pace a little too slow to handle. After a few minutes of struggle, the nobleman leader of the expedition throws in, and appoints a small number of participants to go forward into the jungle. Of these, only Lope Del Aguirre, a career soldier with vast ruthless ambition, and Ursua, a more gentle nobleman, are really leadership material. As the party floats down-river on rafts, it rapidly becomes clear by whose will the party continues on, and who will emerge as its sole leader in the end.

Herzog develops some of his usual themes in this film, and does so with poignancy and cinematography nothing short of beauty. The film is about power, madness, religion, oppression, nature, and culture, but certainly does not stop there. This is film as high art. Brilliantly executed, multi-faceted, moving, and as ambiguous as real life so often is.

This is also one of the great actor Klaus Kinski's most profound and appealing roles. Though Kinski was later typecast in mad, or at least eccentric, roles, as Aguirre he is able to show his range very effectively - because the character varies from a cold, brooding, Machiavellian rationalism to an obsessive sociopathic suicidalism. The rest of the cast rises to the challenge and acts right at Kinski's level, making this film one of the best actors/production team collaborations I have ever seen.

This film is definitely not for everybody, it is a long, slow sip of delicious and yet bitter wine which the typical movie-goer will only appreciate when 'in the mood' for something which requires thought and energy to watch. It is also one of my favorite films of all time.

Klaus Kinski's enigmatic and frightening portrayal of man's obsession in Werner Herzog's nightmare masterpiece Aguirre: The Wrath Of God is a German film that is as powerful today as it was when released back in 1972. Kinski and Herzog's absolute real life hate for one another only makes the film more real in its depiction of a man driven to the edge of sanity as his obsession for a mythical treasure - so obsessed that he sacrifices all that is precious to him in finding it. Like the 'Mosquito Coast', an almost identical film, it concentrates on the human condition, in how far 'man' can go in his quest of becoming God. Werner Herzog, who's persistence in Klaus Kinski to star in most of his films, is a master storyteller and one great director, famous for other films starring Kinski including "Fitzcarraldo" and "Woyzeck". "Aguirre: The Wrath Of God", however, is his and Klaus Kinski's most famous and one of the most powerful films of all time.

Entirely a true story, set in the 1600s, following the annihilation of the Incas Empire, when the Spanish Conquistadors explored and roamed most of South America, a legendary expedition set out in Peru into the Amazon River to locate the mythical City Of Gold, El Dorado. Pizarro, the leader of the expedition comes to the point where he must turn and head back to civilization, following a long and tormenting journey that ultimately led them to nowhere. Fearing they'll get lost in the uncharted jungles of the Amazon, he sends a smaller group to complete the journey and commands them to return within a few days if no Gold is found. It is only a matter of time before this group faces unbearable difficulties down the Amazon River. Fearing the leader of their new group might turn back to prevent any more men being killed, Don Lope de Aguirre (Kinski) inspires a mutiny and manipulates the men in believing that with the riches they would find they wouldn't need to go home. They must battle with the native enemy they can't see and walk through the most difficult terrain on a most terrifying quest. What follows is a devastating character study of human nature and how one's obsession can destroy him and everything that really matters.

This film comes as a rarity in our world gone mad - a world controlled by greedy, obsessed and powerful dehumanized people. Klaus Kinski was one of the world's most profound and versatile actors. His rough, striking and villainous exterior gave him an almighty presence. He creates such a vividly obsessed and evil character in the film, you are easily convinced he is for real. I believe his abhorrence for Werner Herzog assisted him in his performance. Never during filming did they ever share ideas, always opposing and showing one's hatred for one another, which leaves people questioning their constant repairing. But Werner Herzog makes no mistake when casting Kinski in his films. Kinski drives the film, sometimes completely on his own. Werner Herzog's films are always extremely deep, philosophical and mythical. The cinematography is consistently breathtaking and never fails to transport you to the world Herzog intends to take you. And music perfectly paints the picture of human degradation, with its slow, subtle and haunting tone. It sticks in your head long after the conclusion and adds immensely to the the power of the film.

'Aguirre: The Wrath Of God', much like 'The Mosquito Coast', is one of the most poignant character studies in film history. It is in German with subtitles, but you are bound to forget they are there, as this epic film will take you to the vast and dehumanizing Amazon on an adventurous journey you will never forget. See this for the adventure if not for the underlining depth. It is a master work from a unique artist that is Werner Herzog and made a classic by the colossal Klaus Kinski. A beautiful and haunting experience that is not to be missed.

Filmed not far from Machu Picchu, the legendary lost city of the Incas in the mountains of Peru, the opening images of this film are breathtaking in their natural grandeur and visual scale. A long cavalcade of 16th century Spanish soldiers slowly winds its way, serpentine like, down a steep mountain face. It's one of the most impressive and awe-inspiring openings in film history.

The soldiers are searching for El Dorado, the fabled Andean city of gold. The caravan includes the story's main character, Aguirre (Klaus Kinski), a greedy, ambitious soldier who will stop at nothing in his quest for riches and power. Also included is Inez, a young, well-meaning woman who wears blue velvet and white lace. Representing the Spanish Crown, she rides in a wheeless carriage, described in the movie as the "sedan-chair", a flimsy, enclosed wooden box toted by other soldiers. The carriage, painted blue and red, is so out of place in this rugged wilderness, it's the first clue that the entire mission is a fool's errand, based on romantic dreams and delusions. Against the backdrop of towering mountains and dense jungle, the sedan-chair and Inez' regal looking clothes make Spanish royalty look impotent.

Eventually, only a small convoy of soldiers, along with Inez and her sedan-chair proceed, as El Dorado becomes ever more elusive. Down the Amazon River the little band of adventurers traverse, encountering one problem after another. Aguirre, having long since taken command, leads them on, ever in search of that pot of gold at the end of the rainbow.

Throughout the film, Aguirre rarely smiles. He displays a strange body language, sometimes leaning sideways or backwards, his thoughtful, stern face with reactions that are slow and deliberate. His behavior suggests other Messianic "leaders", like Jim Jones, who led his flock of followers to their doom in 1978 in the jungles of Guyana.

"Aguirre, The Wrath Of God" is a story of adventure, a story about the mystery of the unknown. It's a story about dreams and fantasies of greed. It's a very physical film. Every single scene, without exception, was filmed outdoors.

It's a non-Hollywood type film, too. There are no sets, and some of the plot and dialogue are improvised, enhancing spontaneity and grim realism. It's a film not unlike "Deliverance" (1972).

"Aguirre, The Wrath Of God" is one of the most visually striking film I have ever seen. And the underlying theme of mankind's arrogance, against an implacable Nature, is starkly apparent. The film is visionary, profound. It will leave many viewers changed, enriched, perhaps even a little wiser.

I decided to check out this film for a few reasons, one of which is that I was considering taking Werner Herzog's masterclass online in which he claims to have every answer and everything a filmmaker needs to know. In the trailer for the class, Herzog admits that he doesn't use story boards, calling them an instrument for cowards, and that he sees himself as a thief, stealing whatever cool, interesting footage he can. Herzog rightfully has the reputation of being a bad ass, world traveler, and daredevil, who will film whatever he can, and I commend him for that. He has a distinctive style, that I think works especially well in documentary form.

But out of principle, I find myself hating "Aguirre" simply because people love to call it a visionary work, and it's anything but that. Granted, it is a wonderful character study and leading man Klaus Kinsky lends to the film tremendously. But Herzog went in without a plan, shot what he could, got the hell out and put it all together in a way that made sense... which works better in a documentary than in a narrative film. We can call it Cinema Verite if we want to ignore the flaws, but if I'm being honest with myself, it just feels lazy. Justified, maybe... being out in the jungle requires some shortcuts, and having a low budget would limit the ability to enforce one's vision... I still respect Herzog for doing what he could with his limited resources and living to tell the tale.

But my point is that there is no vision in this film. Herzog had an idea, rushed to write a screenplay in 2 days (not something worth bragging about in my opinion. Malick's opus "The Tree of Life," my personal favorite, took years and years) and he wanted to go film it somewhere cool, and once again, mad props to him for being adventurous, but out of principle I can't get behind a film people are calling visionary when this is just not one of those films. "Aguirre" is only proactive in that Herzog and his crew went on an expedition. Meanwhile the only shot that feels planned is the wonderfully ambitious opening shot of hundreds of conquistadors hiking Machu Picchu, which reminds me of the thing I admire about the film, Herzog's ambition and his exploration of a remote part of the world.

Why do you think he's been able to make so many films in his lifetime? It's because he shoots them like documentaries, without any plan, just running around with a camera. We can't hail "Aguirre" in the same ball park as films of great, proactive, visionary filmmakers like Ingmar Bergman, etc.

That's what drives me crazy about "Aguirre." I'm not going to call it lazy, because I appreciate Herzog's efforts in exploring the jungle, but it lacks the vision of what I believe to be great films. While Kinski's performance is great, the feeling I'm left with overall is quite bittersweet. And I won't be taking Herzog's master class, because I don't plan on being a documentary filmmaker, and that is where the skill set and the answers Herzog seems to have belong. Me on the other hand, I'd like to execute thought out vision, which I believe to be a pillar of cinema.

One of the reasons I go to the movies is to experience a place that I would otherwise not get to see. In Werner Herzog's astonishing "Aguirre: The Wrath of God" we are taken into the Andes region of the Middle and South Americas in the mid-16th century and are exposed to incredible images and faces. It's a haunting masterpiece that seems ageless.

At first sight, the costumes and effects seem amaturish, but quickly we realize that this makes the film superior to what it would have been if it had been made with a larger budget; it adds to the film's artistry and authenticity. Film is a visual medium and it works best when the images we see are not tied down to strictly suit the plot; this film is a feast for the eyes.

The plot, what little there is, is very simple: a crew aboard a raft are attempting to get to the City of Gold, El Dorado. Much like Coppola's "Apocalypse Now," we are taken on a mesmerizing journey into the depths of madness with the focus being primarily on mood, setting, atmosphere and images.

Klaus Kinski, in one of the best performances I've seen, embodies the insanity that comes with the quest for power. The physicality of Kinski's performance is startlingly effective - he seems drunk on his own sense of power and recalls Brando, Dean, and a young De Niro or Pacino at their most absorbed.

The music in the film inspires a sense of awe and wonder that, along with the lush landscape and vistas, succeeds in taking us to another place. These are the kinds of films I love: a director so obsessed with achieving a sensation of marvel, so ambitious in his scope that we are free to wander within the film's world as we watch the characters journey into the mysterious unknown of their mind.

There are many good, very good and great films - too many to list, in fact. What I am hoping to do is label each film I see fit as a "masterwork".

This film is a masterwork.

****

1972's Aguirre, the Wrath of God, by Werner Herzog concerns an expedition formed by Spanish soldiers down the Orinoco and Amazon rivers searching for the fabled Dorado. It is set in the 16th century, the ruthless and insane Aguirre leads a Spanish expedition in search of El Dorado. It deals with an expedition under command of Pedro Ursua (Ruy Guerra) with various officers . The travelers who are over-dressed for the heat in their old world clothes and armour must survive the crises of jungle life and human frailty . The river , jungle scenery and several dangers dominate the motley characters in the risked journey . But later on , Lope De Aguirre (Klaus Kinski , who was the start of an extremely stormy, and sometimes violent, professional relationship with Herzog that lasted 15 years) taker over the explorers .

Slow-moving and interesting film that contains historical events , thrills , double-crosses and wonderful scenarios . The picture has been criticized for its plodding argument , with brief moments of tension where the travelers must survive the crises of jungle life and human frailty . Good performance from Klaus Kinski , who plays this actual historical character of strange manner , as usual . According to director Werner Herzog, Klaus Kinski threatened to abandon the film entirely at one point during the shooting. Herzog says he threatened to kill Kinski and then turn the gun on himself if Kinski left and later declared he was quite prepared to do so. Kinski stated in interviews that Herzog wielded a pistol to emphasize the threat, but Herzog denies this. Werner Herzog claims to have written the screenplay in two and a half days , he wrote a good portion of it while traveling with his soccer team, during games and on bus rides . Rare musical score and colorful cinematography , though most of the film, as well as several other features by Werner Herzog, was shot on a 35mm camera that he stole from his film school . The motion picture was originally directed by Herzog , though he did not storyboard a single frame of the film and ll of it was shot and framed spontaneously. In 1988 was realized another version titled ¨El Dorado¨ by Carlos Saura ; because of a similarity in plot and characters, the movie suffers by comparison but stands on its own as a less fantastic version of the same travel of obsessed adventurers . Rating : Above average , it's considered to be a "Top 50 Cult Films of All-Time"

The picture is based on real incidents , these are the followings : Together with his daughter he joined the 1560 expedition of Pedro De Ursúa down the Marañón and Amazon Rivers with 300 Spaniards and hundreds of natives ; the actual goal of Ursúa was to send veterans from the former Peruvian civil wars away, to keep them from troublemaking, using the Eldorado myth as a lure . A year later, he participated in the overthrow and killing of Ursúa and his successor, Fernando De Guzmán, whom he ultimately succeeded. He and his men reached the Atlantic (probably by the Orinoco River), destroying native villages on the way. On March 23, 1561, Aguirre urged 186 captains and soldiers to sign an act which would proclaim him as prince of Peru, Tierra Firma and Chile. He is reputed to have said in 1561: I am the Wrath of God, the Prince of Freedom, Lord of Tierra Firme and the Provinces of Chile In 1561, he seized Isla Margarita and brutally suppressed any opposition to his reign, killing many innocent people. When he crossed to the mainland in an attempt to take Panama, his open rebellion against the Spanish crown came to an end. He was surrounded at Barquisimeto, Venezuela, where he murdered his own daughter, Elvira, "because someone that I loved so much should not come to be bedded by uncouth people". He also killed several followers who intended to capture him. He was eventually captured and shot to death. Aguirre's body was cut into quarters and sent to various cities across Venezuela.

Conquistador Aguirre is on a quest, a quest for gold and glory from the legendary city of El Dorado, a quest that would fuel his thirst for power and in the end, lead him to madness. Director Werner Herzog does a wonderful job of capturing the tense hopelessness that surrounds Aguirre and the others as they travel down the river on crude rafts, while still throwing in some random touches of humor. Some of his photography is amazing, be it the opening with hundreds of people descending a very steep and foggy cliff or the haunting shot of the ship with white sails. The final shot was very nicely accomplished as well. Aguirre was played by Klaus Kinski, who gave a powerful, frightening, and very distinctive performance…he almost oozed from place to place. All in all, Aguirre was an occasionally dull but often compelling and ultimately memorable picture. The DVD commentary with Herzog (who has a pleasant voice) is informative and worthwhile.

Looking at the reams of adoring praise in the comments section, and the high average score of 8.1 on the film's page, this is not likely to be a popular review with most people.

But I feel entitled to give my opinion. I have never seen a Werner Herzog movie before, but after hearing about this and discovering the IMDb page I thought it would be worth a rent. I sat down to watch it this afternoon devoid of any prejudgements, and watched attentively. I'd like to think I don't have a short attention span: if a film is good enough to keep me interested, then it doesn't matter what pace/colour/language/style/length it is. However, it did not take long for this movie to leave me somewhat frustrated. The story is very simple: an Emperor and his men set off searching for El Dorado. Fair enough. But this film fails to keep things interesting. Its first mistake is to not introduce any of its characters in a meaningful way. The crew are just faces, none of them play any significant part in the film. You do not see their lust for El Dorado. You only see their frustration in one exchange of dialogue late in the film.

Aquirre, the main character (played by Klaus Klinski), is the only one of any real interest. The emperor is fat, greedy and generally cares only for himself. The monk (and narrator) just wants to convert the savages. Ursua seems like he should have an important role, but is shot early on and remains silent for the rest of the movie. None of these characters have depth. Only Aguirre, but even then he possesses little more than an odd fascination, which I guess is credit to the actor and definitely not the script. The way he moves and talks, he is egocentric and clearly a little mad. Yet this is not a progression. He seems mad and selfish at the beginning, and at the end he is still mad and selfish, only slightly more so.

Another problem with the movie is the pace. Despite being only 1hr 30 minutes, the director successfully sucks all potential life from the film. The editing is abysmal. Nothing interesting going on, and shots linger for way too long. Most will probably claim something to do with art and beauty, but the fact is the editing is poor. There early two early shots of the river that linger for almost 30 seconds each, never shifting. You are just staring at a fast-moving current. Maybe to some people this is evocative. To me, it's just tedious.

The film would have a better atmosphere if it wasn't filmed almost documentary style. I hate to compare it to Apocalypse Now, but that film managed to create a thick atmosphere, through music but more specifically the excellent cinematography and editing. It had montages that helped to convey the feeling of madness, an almost dreamlike feeling. No such effects are used here. It is very plainly directed, in fact the direction is what lets the film down the most. When the music occasionally kicks in the film improves considerably, especially as in the end scene with Aguirre's daughter. But most of the music is completely silent, and unfortunately this doesn't convey any feeling of eerieness or tension, just boredom.

It doesn't help that half the dialogue seems dubbed even though I watched it in the original language with subtitles. It doesn't help that nothing eventful happens in the entire movie. It may not be an action movie, but something has to happened to keep our interest. Characters die, but I had no reason to care for any of them.

If people could reply to this I'm sure they'd say that I missed the point of the movie, and I guess they'd be correct. I see no point to this movie. I tried to enjoy it, but it is slow, tedious, uneventful, sometimes badly acted, lacking characterisation, poorly scripted... yeah, you could say it's beautiful, but only because the place where it was filmed was beautiful in the first place.

Overall, I'm put off Werner Herzog movies for the foreseeable future.

AGUIRRE: THE WRATH OF GOD (Werner Herzog - West Germany 1972).

Herzog's daring and unconventional approach in film-making is something very few filmmakers can match. Due to the incredible hardships while filming on location in the Amazonian jungle, the myth surrounding AGUIRRE has almost outgrown the virtues of the film itself and over the years it has become an almost integral part when (re)viewing this film, even more so since Herzog's documentary MY BEST FIEND (1999) was released about his relationship with "best enemy" and star in many of his films, Klaus Kinski.

A mesmerizing exploration of human obsession based on the diaries of Gaspar de Varvajal, a monk who accompanied Gonzalez Pizarro (half-brother of the brutal conqueror of the Incas) and died during the expedition, the film chronicles Pizarro's 1560 Peruvian expedition in search of the legendary city of gold, El Dorado. When the expedition is faltering by the difficult terrain, Pizarro decides to send a small party ahead to determine if exploration should continue. Though Don Pedro de Ursua (Ruy Guerra) is put in charge, he is soon challenged by the ambitious fanatical Aguirre (Klaus Kinski), who against all odds wants the journey to continue, with catastrophic consequences.

One of the key elements in Herzog's work is the use of landscape and the natural surroundings. The Amazonian jungle is a key third dimension in the film and really is a green hell, threatening and unforgiven. There's no romanticism in Herzog's view of nature. The continuing sounds of the running water and the birds are just as important for the story and the despair of Aguirre's men as the ambient electronic soundtrack by the German ensemble Popol Vuh, the ultimate modern and very German pioneers in electronic music, mixing choral chants with electronic samples and organ music. To me it is simply astonishing Herzog decided to use their in a film about 16th century Spanish explorers shot on location in the Amazon and somehow it works wonderfully, a perfect blend of image and sound. Hard to identify a very important element of the "natural soundtrack": what's the name of the bird that produces this whistling shriek, that is heard almost continuously in the background and is one of the most recognizable sounds of Neo-tropical rain forests? A Quetzal?

Klaus Kinski's performance is a perfect match for Aguirre's descent into madness, eerily resemblant to Kinski's own Mad Kraut persona and well-published rampant behavior on the set and his misconduct in general actually. Watching the film for the first time with audio commentary by Herzog and he revealed many things I never heard before. One of the strangest anecdotes is not really about the film itself but is, well..truly one of the most bizarre things I ever heard.

Before the shooting started, Herzog and his crew were boarding for the plane that would bring them from Lima to Cuzco when the airplane had some technical problems. Since the airline company in question already had two or three serious accidents not long before, they decided to wait and take the next plane. Repaired or not, the plane left off anyway and crashed in the Amazonian jungle with the only survivor a young German woman, Juliane Koepcke. After weeks she finally reached a remote Indian village, malnourished, an almost fatal larval infection, close to death. Later Herzog would make a documentary about this, JULIANES STURZ IN DEN DSCHUNGEL (English title: Wings of Hope) (2000). Besides the already astonishing, many times near-fatal accidents and Kinski's impossible madman behavior, this film seemed doomed from the start, like an old curse from the Incas.

For those less familiar with Herzog's work, FITZCARRALDO (1982), also by Herzog and shot under equally horrendous conditions in the Peruvian jungle, would make a good companion piece. For Herzog's relationship with Kinski there is the interesting documentary MEIN LIEBSTER FEIND (My best fiend) (1999).

Camera Obscura --- 10/10

Werner Herzog's bleak masterpiece might well be the best film the auteur has ever made – a masterful movie that embodies the director's offbeat career with a perfectly realised study of madness and ultimately despair. The story itself is simple – a boatload of Spanish Conquistadors travel down the Amazon, in search of the legendary lost city of El Dorado. The realisation is something else. Herzog's close-up cameras capture every moment of the journey, focusing on the faces of the men who undergo what quickly turns into an ordeal. The film is dotted with set-pieces that impress: a raft caught swirling endlessly in a whirlpool, a boat stuck high in a tree and a visit to (and hasty retreat from) a cannibal village. However, it's the 'quiet' moments that Herzog captures so well, the hope and then stark realisation as it crosses the faces of his men.

I found this film tremendously spooky. The hostile natives are barely seen, and the characters barely notice the arrows sticking from their bodies. The cannibal village is one of the eeriest moments captured on film. But there's humour here, too, with an early 'talking severed head' gag and the final scenes that reveal Kinski's madness. The use of the baby monkeys is a wonderful idea and the film never runs out of steam, getting stronger as it goes along. The ending might be inevitable, but it's the journey that grips the viewer. You'll laugh, shake your head and even cry at the events which unfold; I found the bit with the horse particularly moving, despite the absurdity of the situation.

The film belongs to the maverick actor that is Kinski. He's perfectly cast as the unhinged Aguirre, and one of the maddest actors ever seen on film. I'd say that this was the highlight of a long and varied career. Still, the supporting cast are all great too, with nobody putting a foot wrong. The theme may be familiar from the likes of Conrad's novel HEART OF DARKNESS and Coppola's APOCALYPSE NOW, but Herzog's vision is all his own – and as a result this is one of the most unique and compelling jungle movies out there.

I was interested in seeing this movie upon seeing it appear in Roger Ebert's list of Top 10 favorites movies of all time. I think it might have been the only Foreign Language film on the list. Then again, I think "La Dolce Vita" might have been there too. I'll just say it's his pick for best foreign language film. And honestly? I think it's probably mine too. I'm normally not into Foreign Language films, but this is a breathtaking exception. The plot is quite basic, with a group of Spanish explorers searching for the legendary El Dorado.

I am reminded of reading the book "War And Peace". It was great just to see the area being described, but it was the deep dialogue that really made it readable (is that a word?). The same works here. The camera work is among the best I have ever seen in a movie. I just love the way it shows people off in the distance and how it focuses on the most important things. Everything about this movie just looks beautiful. I love the costumes, I love the animals (who must be real), I love the environment, it's simply a gorgeous film. There is some action in it, but for the most part, they just have realistic stuff going on. The entire movie takes place outside and I don't think anyone is ever in a house.

That's a wonderful and unique way to film. Even the very first scene had me hypnotized. It's beautiful to see these people being led along a mountain. Near the end of the movie, the title character Aguirre is told there is probably no golden city, but wants to conquer whatever he finds. Mixed throughout the film are insightful messages about politics and religion and the true motivations behind these ideals. It's one of the most philosophical movies I've seen in a long time. The title is spoken in a wonderful way as this is how Aguirre sees himself. The film never really ends, it just stops with little progress made in the entire story. It works wonderfully that way.

What's great is just how amazingly realistic this film is. It shows how we crave glory and how we act around people of different races and beliefs. Everything just molds together for a wonderful visual feast. Near the end, we're not even sure of what's real. A guy is hit with an arrow, but it might just be in his (or someone else's) imagination. It is this delusion that makes us question exactly what goes on around us. After watching such horrible movies like, "They Saved Hitler's Brain", "Dracula Vs. Frankenstein", and "Doomsday Machine" this was an inspiring thing to watch. The only bad thing about this movie is that it's only a hour and a half! It seemed more worthy of being a truly epic film. Still, it works wonderful with its time and I obviously recommend it. ****

Some productions are so legendary that they are familiar to viewers long before we actually watch the film. 'Aguirre, the wrath of god' is arguably one of the very best examples of this. The conditions the cast and crew experienced, and the trials and tribulations of the expeditionary party in the film, are all but one and the same. The fiery animosity between filmmaker Werner Herzog and unpredictable star Klaus Kinski is among the most widely known collaborations, or clashes, in all of cinema. Between these heavy doses of untamed realism, the immense work from all angles that went into the creation, and the lush, haunting ambient music of Popol Vuh, it's easy to become absorbed in the saga as it unfolds. Recognizing the unembellished nature of the film, declining hooks or twists, 'Aguirre' surely won't appeal to all comers, but it remains a dazzling and almost naturalistic spectacle that everyone needs to see at least once.

For all the intense hardship that characterized the days filming on location in remote areas of South America, it resulted in a viewing experience that's fascinating. We get eyefuls of incredible landscapes and scenery thanks to Herzog's timeless shot composition, and Thomas Mauch's rich, crisp cinematography. The costume design, set pieces, and weapons and props have the appearance of stark authenticity, while the somber and grizzled performances of the cast give definite impressions of the growing disintegration of the expedition, mentally and otherwise. (Even questionable dubbing in post-production can't dampen the effect.) As the runtime advances and the group aimlessly journeys on, strong, dire themes come into ever greater focus of the inane madness and foolishness of colonialism, and empire; the exploitative amoral cruelty and senselessness of the Age of Exploration, and all it represents; the corruption and myopic folly of power; and the monstrous abject barbarity of so-called missionaries. To these add a gnawing air of futility as the length goes on while Aguirre stands mindlessly fixated on a glorious goal - this is not a movie one watches to be entertained, but instead to be mesmerized, and indulge in the terrific artistry of cinematic storytelling.

There's a bleakness to the narrative (and, frankly, the production as a whole) that is spellbinding, while at the same time it's eerily, tragically beautiful. The sparing music and more prevalent contrasting silence in the soundtrack only compounds the grim atmosphere, and tightens our attentiveness. I fully expected a good time before I started watching, but still the experience has bested my assumptions. Every element of 'The wrath of god' boasts a reputation that precedes it, and despite the basic simplicity of the plot, it undeniably becomes captivating as the trek progresses and unravels. I can understand why this won't be for everyone, yet there's such tremendous excellence of film-making and storytelling as to become an essential classic. It's difficult to speak of the title to any further extent without betraying foreknowledge, but all I can say is that 'Aguirre, the wrath of god' is stupendous achievement that ranks among the finest works the medium has to offer. Even if you need to go out of your way to find it, this is well worth 90 minutes of your time.

This is neither the masterwork nor the garbage most people see in it. Sure, it has a lot of very strong points - Kinski's acting, a fascinating plot, the original settings, some good cinematography and an unforgettable closing scene. However, the movie seriously suffers from awkward cuts and terrible dramaturgy; and, worst of all, the stiff dialogues and the amateur-class acting of almost everybody besides Kinski (you will note both especially if you speak German) make some scenes unbearable. So all in all, while it may have the potential to be a really great movie, it delivers only sometimes, and in order to call it a masterpiece, you would have to be very generous and overlook many flaws ...

If a guy standing on a raft, as the camera spins round and round it in 180 degree fashion, clutching a monkey looking as dazed and confused as we might well be whilst talking about ideas of world domination and how they'll take on nations single-handedly sounds like the sort of film you'd like, then you'll love Aguirre, der Zorn Gottes. But don't let the sheer avant-garde nature of that scene fool you into thinking it's something that sounds quite silly because the film is anything but. Aguirre, the Wrath of God is a bizarre and yet strangely compelling piece that teeters on the brink of fiction film-making and documentary but for sure, charges through the barrier labelled 'art'.

So where to start with a film as bizarre as Aguirre? The film is like a docu-drama; a biopic of absolutely nobody in particular and yet you feel it centre around something anyway – what could it be: a man going insane? A heritage film about the Spanish conquistadors made by the Germans? An experiment of a film shot in the jungle merely to make it more gruelling for the cast and crew? Well, it's probably all of these things and much more. Aguirre, the Wrath of God sees Klaus Kinski's Don Lope de Aguirre lead, eventually, many Spanish soldiers through the jungles in search of El Dorado, the city of gold. Immediately, this establishes a sense of greed amongst the characters added only further by the establishment of their location. The jungle is thick and intense, with several shots dedicated to seeing the soldiers hack their way through it for cannons and royal boxes to proceed. The very first shot of the film sees steep South American hills cover the screen. The people are shown to be microscopic versions of themselves, making them look like ants crawling down a hill - a cannon is dropped accidentally but they must go on.

Such an immediate beginning and choice of shot, composition and subject matter is quite brilliant – it puts us right there and tells us exactly what they're up against. We might think this is a man vs. nature tale, but the third element of the tribal natives are an important and somewhat enjoyable addition to the story. As a setting and as a set up, the film ticks plenty of boxes but as a character study Kinski's Aguirre is both bizarre and yet fascinating all the same. Aguirre is given a bizarre sort of face thanks to the casting of Kinski, also his actions and general body language right from the off implant a certain degree of un-canniness or eccentricity about him.

So for a film to establish both setting and characterisation of the lead role in such a manner is impressive; nobody else is really developed or has as much attention paid to them because, simply put, they are not as important. The film's narrative may feel as if it is lacking in this disorientating and surreal film and yet if anything adds to the brilliance of the film. More contemporary examples of this could perhaps be seen in other such off-the-wall films that revolve around an (in)sane protagonist such as Taxi Driver and American Psycho but Aguirre, the Wrath of God is more-so a rural version of those sorts of approaches. If one were to look more recently at a cause and effect passage of storytelling in a film demanding a man vs. nature perspective, one might find the final half an hour of Apocalypto as a good example.

The one scene that does stand out as a clear tactic to confuse and force the audience into thinking is the one in which, very early on – (perhaps the initial incident?) the leader of the Spaniards is killed off through one way or another creating an ambiguous situation in which the group are already established to be struggling, Aguirre seems to be going a little crazy and now nobody can lead them to El Dorado. This is where, of course, Aguirre's character study kicks in. As a mission and as an idea for the narrative, searching for El Dorado is both brave and foolish of the team. Aguirre further looks insane when he uses the last resorts of the recent conquest of Mexico as a drive for success, something completely unrelated and something rather different to searching for something that could quite possibly not exist. Rather than an example of poor story telling emphasised by unrelated dialogue, it actually acts as a well timed line about something else uttered by someone perhaps going under.

And so from this setting of the scene, the character introduction and scenario Aguirre and the band of soldiers travel on a mere raft, down a river which you very much get the feeling is of no return. But that's part of that particular beauty, we never really know where it leads or how they'll get back. The film becomes a series of scenes that play on both nature, the third element of the natives complete with deadly arrows and trouble afoot on the raft itself. Each of the three make up a dramatic and artistic triangle that engrosses and entertains. Incidentally nearer the end, Aguirre seems more interested in conquering Port-of-Spain in Trinidad than finding a city of lost gold – perhaps that is the one sane moment in the film Aguirre expresses: his realisation that such a thing could probably only exist in legend.

Here's a 'must-see' film, which after a long-awaited but anticlimactic screening I would rebrand as 'see if you must'. The one awe-inspiring fact about Werner Herzog's much-admired 'Aguirre, Wrath of God' (1972) is that it got made at all.

As messianic as the maker himself, the film charts an ill-fated 16th Century Spanish Crown expedition to Peru and the Amazon in search of the fabled gold of El Dorado.

Tranquil wide shots belie the true nature of the place. The heat stifles, the raging river demoralises, the paucity of food consumes. The nobility are quickly overpowered by the unforgiving environment.

Capitalising on the band's resignation from their quest, a rebel soldier, Don Lope de Aguirre (Klaus Kinski), inspires a mutiny and assumes leadership. He pushes the men to their limits, forcing them to go further, faster. Meanwhile the 'Indian' slaves free themselves of servitude and periodically resurface to arrow their former captors to death.

The expedition doesn't enervate Aguirre as it does the others. It enlivens him. As his sanity declines, he declares that he will marry his daughter before conquering other places and then overthrowing the monarchy.

Kinski was one of those die-for-your-art actors. Steely-blue eyes set among an intense, rough face gave him the look of a noble hobo. He might well have come closer to the crazed characters he played than any other international star. Herzog often used him, though theirs was love-hate relationship, and their fights are the stuff of legend.

There are many memorable moments in 'Aguirre'; indeed I best remember it as a series of quite dazzling set pieces. Take the raft scene where a horse loses control and dives into the river. Or the superbly edited shot of a head being lobbed clean off. Or the final scene, featuring an army of common squirrel monkeys.

The opening long shot remains the most breathtaking: the entire crew slowly snake their way down an imposing mountain; a visceral metaphor reflecting their insignificance – a sequence that would only be done with CGI today.

Throughout, the film is visually arresting and remarkably static, except for occasional paroxysms. It's an arduous watch and I think overrated, but you may genuinely not see anything quite like it – except for other Werner Herzog films.

Werner Herzog quickly establishes the gaping void between civilised man and nature in his 1972 masterpiece Aguirre, the Wrath of God, with the sight of an expedition navigating a path down the side of a mountain in the Andes. They scuttle like ants, carrying objects unsuitable for such a perilous journey through the harshest of rain forests - a sedan chair, a huge cannon - and are adorned in sweltering metal armour, complete with helmets and weapons. This is the opening scene, and the message clear - these people simply should not be there, and whatever riches or glory they seek will surely result in death. Backed by Popol Vuh's haunting score, it is one of the finest shots in the history of cinema.

The filming of The Wrath of God is possibly as well-known as the film itself, with stories of poor planning, severe injuries, and leading man Klaus Kinski's generally disruptive and psychopathic behaviour emerging from the cast and crew after the film's release. Yet while a chaotic shoot can result in disaster for the finished product, every now and then a masterpiece will be born from the rubble - just look at Apocalypse Now (1979). And Herzog's first of five collaborations with Kinski is precisely that; a glorious, brutal and completely absorbing depiction of madness and greed that benefits from the bizarre happenings behind the scenes. Set in 1560, the film tells the story of the ill-fated expedition led by Gonzalo Pizarro (Alejandro Repulles) to find the fabled land of El Dorado.

Accompanied by a band of Spanish conquerors and a hundred Indian slaves, Pizarro soon realises that his expedition will soon be cut short by a lack of food, water and supplies and orders a smaller group of approximately 40 men to carry on with the search. He puts Don Pedro de Ursua (Ruy Guerra) in charge, with the maniacal but efficient Don Lope de Aguirre (Kinski) as his second-in-command. With them they take the fat representative of the Royal House of Spain, Don Fernando de Guzman (Peter Berling), Brother Gaspar de Carvajal (Del Negro), and, against Pizarro's wishes, Ursua's mistress Inez (Helen Rojo) and Aguirre's daughter Flores (Cecilia Rivera). The quest is soon in trouble, as one of their rafts is swept away by perilous rapids and Aguirre quickly overthrows Ursua, seating de Guzman in his place.

Herzog isn't interested in peppering the film with set-pieces. The Wrath of God moves along at a slow pace with not much happening for long periods of time, while the rainforest lurks all around the screen, proving itself to be a formidable and unpredictable presence. The German auteur has said before that there is nothing peaceful about nature, and here the eerie silence is frequently interrupted by the high shrill of some unseen animal. As the group journey further into the harsh terrain, their decreasing mental state starts to reflect their surroundings. They drift along the river in a raft made by slaves (the natives made them for the film), and occasionally come across an Indian. Brother Carvajal is there to spread the word of God and offers one a Bible. When he puts to his ear and wonders why it doesn't talk, he is put to death for blasphemy.

Nature, including humanity, is madness itself, and this message is hammered home further by the wide-eyed performance of Klaus Kinski, who was clearly mad himself. His spats with Herzog are the stuff of legend, and anyone with an interest should check out Herzog's documentary on his relationship with Kinski, My Best Fiend (1999). During the filming of The Wrath of God, he shot at some extras keeping him awake, removing the tip of one of their fingers in the process, and hit a cast member so hard with his sword that he still bares the scar (the incident can be seen in the film when they attack the village). Never has a film affected me, mentally and spiritually, with such power. In the final scene, Aguirre mutters to himself on board his tattered raft as some monkeys invade the screen. Herzog transports you there, and leaves you questioning the sanity of the world around you. Unquestionably my favourite film of all time.

The film portrays a fictional account of conquestadors exploring the Amazon, but takes nearly all of the plot from various historically recorded events. Filming itself, in the Bolivian jungle is the stuff of legends and many of the scenes are simply capturing the difficulty the actors had carrying their gear / travelling on the mighty Amazonian rivers. If you've been to the Amazon or are interested in the history, I can recommend this. If not, you may want to think twice. The key downsides is the inexplicable plot - we really don't get to understand any of the 'why's' in this film, and the interminable footage of the crew travelling down the river. The dubbing is terrible, the music superb. I'm surprised this film hasn't been remade as the story itself is fascinating, but as it stands, this is a flawed classic and even at 90 minutes seems overly long.

Werner Herzog's widely acclaimed film about a 16th century expedition into the Southern American jungle looks like some hippie commune happened upon a bunch of costumes and a camera and decided to make a movie because "everybody's an artist".

Klaus Kinski, in the title role, does his wild-eyed Kinski routine, overshadowing in the process the rest of the cast who seem to be on a mission to demonstrate that acting's actually hard.

The editing is poor. The results of the complete post-production sound overdub range from the o.k. to the ridiculous.

All aspects of the camera-work are done really badly. As for choices of frames and camera movement, nothing in particular seemed to motivate the former except for the desire to show the person that's speaking most of the time; the latter makes you remember that it's not easy to hold a camera still when you have one leg in the river, the other on an uneven stone and nothing to stabilize the camera. The lighting and colours? Well, you can see everything alright.

The complete absence of a narrative arc, the lack of motivation for some scenes (during one I got the impression that the actor was wondering when it would be over so he could finally scratch his arse) and the quality of the dialogues might lead the naive observer to believe that they just made the story up as they went along. But no. From Wikipedia:

"Herzog wrote the screenplay "in a frenzy", and completed it in only two and a half days. Much of the script was written during a 200-mile (320 km) bus trip with Herzog's football team. During the bus trip, his teammates got drunk after winning a game and one of them subsequently vomited on several pages of Herzog's manuscript, which he immediately tossed out the window. Herzog claims he can't remember what he wrote on these pages.

"The screenplay was shot as written, with some minor differences."

When people say that something's "so bad that it's good", they usually mean that a work of art is unintentionally funny, and indeed I had to laugh when I watched some of the death scenes, which seem like reenactments of something out of The Simpsons. But what kept me watching was the fascination with the yawning gap between the film's renown and the real thing. Incredible.