★ 7 / 10
Klaus Kinski is great as the eponymous, slightly
CinemaSerf
Klaus Kinski is great as the eponymous, slightly maniacal, opera lover who decides that his love of Verdi, Bellini and Puccini needs to be shared with his…
Klaus Kinski is great as the eponymous, slightly maniacal, opera lover who decides that his love of Verdi, Bellini and Puccini needs to be shared with his mid-jungle community. He realises that to do that, he must have cash - and that's only to be found if he can manage to tap into the rubber trees deep into the Amazon. To that end, he and local hostess "Molly" (the sparingly featured Claudia Cardinale) manage to scrape together enough cash to buy a dilapidated old steamer from local grandee "Don Aquilino" (José Lewgoy) and he sets off into uncharted waters with a skeleton collection of untrustworthies into the realm of rapids, insects and hostiles. There's a snag to his cunning plan, though. The area he wishes to exploit is all but inaccessible and he is going to have to figure out some considerable engineering legerdemain if he is to achieve his goal. Fortunately, along the way, they encounter some locals who have a legend that a yellow-haired man would come from their gods and - well anyway, he fits that bill and they agree to help him get the boat uphill - literally - from one river to another. Can they keep their superstitious new allies and their fairly fickle crew on side long enough to succeed and then make it back to what passes for civilisation? Now it does have to be said that some of the continuity here puts John Wayne's watch to shame, but given it was filmed in Peru and on the Amazon itself, this is an astonishingly accomplished piece of film making that really does immerse us in not just the struggle itself but in the character of a man who treads the paths between lucidly, ingenuity and insanity adeptly. It is a little too long, there are too many scenes that add little to the pace of the film, but Kinski and Herzog thrive in this hot and humid climate to deliver an entertaining and exciting travelogue the likes of which you'll never see anywhere else!
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★ 8 / 10
_**Apocalypse Now in the Amazon headwaters**_ Called Fitzcarraldo
Wuchak
_**Apocalypse Now in the Amazon headwaters**_ Called Fitzcarraldo by the Indians, an Irishman (Klaus Kinski) living in Iquitos, Peru, dreams of bringing Grand…
_**Apocalypse Now in the Amazon headwaters**_
Called Fitzcarraldo by the Indians, an Irishman (Klaus Kinski) living in Iquitos, Peru, dreams of bringing Grand Opera to the jungle city in the Amazon Basin. It’s the early 1900s and there’s a rubber boom. To fund his dream he decides to exploit a considerable area of rubber trees growing beyond the impassable Ucayali Falls. To get to this remote area he incredibly has his steamboat lifted over a hill from another branch of the Amazon with the assistance of notorious headhunters. Claudia Cardinale plays his girlfriend, a successful brothel owner.
Werner Herzog’s “Fitzcarraldo” (1982) is superior to his “Aguirre, the Wrath of God” (1972), which was shot in the same general area, the Amazon basin east of the Andes Mountains. It’s longer by just over an hour, but it has a more compelling story. “Aguirre” influenced Coppola’s “Apocalypse Now” (1979) but “Apocalypse Now” likely influenced “Fitzcarraldo.” The difference is that “Apocalypse Now” took advantage of its infamous setting, the Vietnam War, whereas few people know of the rubber boom of the early 20th century in the Iquitos area.
There’s also less thrills in “Fitzcarraldo.” It’s more impenetrable and all-around curious, a cinematic oddity. Yet it has its highlights, including the core cast, e.g. the burly captain, the impressively hulking indigenous engineer and the drunkard cook. What’s it all about? The beauty of art, great dreams, indomitable will, mysterious cultures, devastating failure and… winning anyway.
The film runs 2 hours, 37 minutes, and was shot in the Iquitos area, Peru, and Amazonas, Brazil, including a couple Tribal Regions.
GRADE: B+/A-
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★ 9 / 10
A Fever Dream
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"A vision had seized hold of me, like the demented fury of a hound that has sunk its teeth into the leg of a deer carcass and is shaking and tugging at the…
"A vision had seized hold of me, like the demented fury of a hound that has sunk its teeth into the leg of a deer carcass and is shaking and tugging at the downed game so frantically that the hunter gives up trying to calm him. It was the vision of a large steamship scaling a hill under its own steam, working its way up a steep slope in the jungle..."
So begins the prologue to Werner Herzog's 'Conquest of the Useless,' a compilation of diary entries the director made while shooting 'Fitzcarraldo,' considered by many to be his magnum opus. The film follows Brian Sweeney Fitzgerald- known as Fitzcarraldo- a determined entrepreneur living in Iquitos, Peru. Inspired to attempt the impossible, he plans to haul a 365-tonne steamship over a mountain deep in the jungle, in order to harvest rubber; thereby making enough money to build an opera house in Iquitos. Against the raw power of nature, as well as the machinations of a local tribe, will Fitzcarraldo be successful, or will his scheme prove to be unachievable?
A fascinating, endlessly rewarding piece of work, 'Fitzcarraldo' is a compelling tale examining a multitude of themes. It is a portrait of man's resilience, as well as a metaphor for the human condition and the unwavering struggle to realize one's dreams, no matter how impossible- and improbable- they seem. A profound character study- as well as a thrilling, beautifully shot meditation on the clash between man and nature- there are few films like it; and very few people like its director.
It is a fever dream of ambition. Fitzcarraldo's plan defies reason. As the steamship strains against nature's fury, it becomes more than a mechanical marvel; embodying the indomitable human spirit. Inching upward, it symbolizes man's collective audacity- the relentless pursuit of dreams against all odds. The jungle landscape, meanwhile, is not merely a physical obstacle; it symbolizes internal, as well as external, challenges; be they Fitzcarraldo's inner struggles, doubts or the psychological hurdles he faces on his quest. Its lush greenery conceals danger, while its rivers teem with life and death. Herzog expertly captures the landscape's primal energy- the rustling leaves, the cacophony of unseen creatures- mirroring Fitzcarraldo's inner turmoil.
As the film progresses, the steamship becomes a character in its own right, a symbol of human ambition and folly. The arduous journey up the mountain is fraught with setbacks and challenges, each more daunting than the last. Herzog's direction is unflinching; he does not shy away from the harsh realities of the endeavour, nor does he romanticize Fitzcarraldo's mission. The result is a raw and unvarnished look at the lengths to which one man will go to, to realize his dream.
Moreover, behind the camera, Herzog's commitment to authenticity and his determination to finish the film mirror's his titular character's quest; blurring the line between fiction and reality. He dragged a real steamship over a real mountain, echoing Fitzcarraldo's unwavering belief in- and pursuit of- the impossible. Herzog and his team endured myriad of struggles trying to get the film made, from cast changes to near-fatal accidents. Although he often refers to himself as "clinically sane," with regard to this film, Herzog's total obsession is palpable.
Under Herzog's direction, Thomas Mauch's cinematography is evocative and stunning. Mauch captures the dual sides of the jungle astutely, showing its beauty, as well as its darkness. His clever framing of the steamship highlights the impossibility of Fitzcarraldo's plans, while also serving as a visual metaphor, emphasising the overwhelming power of nature. The jungle surrounds all, dwarfing both man and machine; highlighting the struggle of the individual against an untamed world.
Alongside Mauch's visuals, Popol Vuh's score compounds the dreamlike quality of the narrative. Classic pieces by the likes of Puccini and Verdi are implemented brilliantly, heightening the juxtaposition between the barbarity of nature and the supposed order of man. Epic and distinct, Popol Vuh's original melodies intensify the jungle scenes and underscore Fitzcarraldo's emotional journey. Combined with Mauch's imagery, the score evokes a sense of timelessness, creating a mesmerising audio/visual tapestry that enchants the viewer; weaving threads of eternity into the fabric of Fitzcarraldo's journey.
Furthermore, the production design- from Ulrich Bergfelder and Henning von Gierke- is authentic and atmospheric. Their meticulous attention to detail in the steamship's construction and the recreation of Iquitos captures the era's spirit, enhancing the film's immersive quality. The design team's efforts to authentically depict the Peruvian jungle's daunting environment adds a layer of realism to Fitzcarraldo's quixotic adventure.
Meanwhile, Beate Mainka-Jellinghaus's seamless editing allows the narrative to unfold with a rhythm that mirrors the ebb and flow of the Amazon River itself. This serves to accentuate the contrast between the chaotic jungle and the protagonist's inner turmoil, while also maintaining the suspense that drives Fitzcarraldo's obsessive quest forward. Additionally, Gisela Storch's striking costume design adds depth to the film's visual language, contributing to the overall tapestry of Herzog's ambitious vision.
Klaus Kinski stars as Fitzcarraldo, supported by Claudia Cardinale, Paul Hittscher, José Lewgoy and Miguel Ángel Fuentes. Initially, Jason Robards was cast as the titular character, though left the production soon after encountering the intensity of the Peruvian jungle. Although Herzog flirted with playing the part himself, Kinski was eventually brought on board. As the maniacally determined entrepreneur, Kinski delivers a powerhouse performance, bringing to life perfectly a man of great obsession. Madly magnetic, it is arguably the highlight of his career.
As Molly, Fitzcarraldo's business partner and love interest, Cardinale oozes sophistication and decency. Despite the fact that she has relatively little screen time, Cardinale is excellent, leaving an indelible impression on the viewer. Hittscher and Fuentes both do strong work as members of the steamship's crew, while Lewgoy brings a welcome light energy to his role as a businessman who sparks Fitzcarraldo's interest in the rubber trade.
'Fitzcarraldo' is a fascinating film, an adventure into the Peruvian jungle and the mind of an obsessive personality. Written and directed by the incomparable Werner Herzog, it is impossible to forget, containing imagery and examining themes that stir the soul. Boasting an effective score, detailed production design and powerhouse performances from all in the cast- led by a pitch perfect Klaus Kinski- it is a fever dream you'll always remember.
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7.9/10
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What a masterpiece! A film about a madman made by a madman.