Herzog brilliantly transports us to a bygone world and to the edge of madness as power and greed clash furiously with nature and survival in this great masterwork of 1970s German cinema.
Dir. Werner Herzog
1972 | West Germany | Drama/Adventure/Biography | 95 mins | 1.37:1 | German, Quechua & Spanish
PG (passed clean) for some violent images
Cast: Klaus Kinski, Ruy Guerra, Helena Rojo
Plot: The legend of El Dorado, a land rich in gold, tempts Gonzalo Pizarro to lead an expedition beyond the Andes in 1560. Forced to halt, two men are sent downriver with a patrol. When their rafts are damaged, one decides to return to the camp, while Aguirre leads a mutiny and takes charge of the patrol.
Awards: Official Selection (Cannes)
Source: Filmverlag der Autoren
Subject Matter: Moderate – Survival, Nature, Greed
Narrative Style: Slightly Complex
Pace: Slightly Slow
Audience Type: Slightly Arthouse
Viewed: German Film Festival
First Published: 22 Nov 2010
Aguirre, the Wrath of God opens with a spectacular wide shot showing a long, snaking line of big, strong men in armour navigating a treacherous mountainous terrain. Tagging along are Indian slaves, animals for slaughter, and a few well-dressed women of royalty.
The minimalist, atmospheric electronic score by Popol Vuh accompanies the scene, its strangeness echoes in the vast, inhospitable nature that surrounds these brave and crazy men. In just the opening five minutes, director Werner Herzog brilliantly transports us to a world that could be described as curiously bizarre.
By the end of the film, Herzog has brought us to the edge of madness and back, leading us to question the extent to which power, greed, and fame can possess one man to see past reason and rationale, and as a result, cause his followers to suffer terrible consequences.
Aguirre, the title character, as played by the great Klaus Kinski, is that man in question. He oversees a mutinous charge to overthrow the expedition’s leaders, and force the rest to follow him in search of El Dorado, the fabled city of gold. During their journey, these people find themselves lost and trapped in an environment they know little about.
“That man is a head taller than me. That may change.”
Shot in the Peruvian Andes, Aguirre is one of many Herzog pictures that are characteristically (or should I say, notoriously) filmed in daunting, and almost hellish conditions, making the great German director a rare breed amongst even purportedly crazy filmmakers.
To constantly put actors and crew in the hellhole, and direct them according to his artistic demands, Herzog has taken filmmaking to, for better or worse, a new level of obsession.
Story-wise, Aguirre takes quite a while to pick up momentum. This is probably due to the presence of a narrator, whose monotonous recount distances us from the characters. It is only past the quarter mark that the lead character Aguirre starts to shine. Kinski’s performance slowly grips us, as we are dragged into his insanity.
The last half-hour of the film sees him on a huge wooden raft floating in the middle of a still river under the scorching sun. His men are feverish and hallucinating. Some see a boat washed up on top of a tree. But could it be real? After all, they seem to be in a world where a man beheaded at nine can still count to ten.
Aguirre, the Wrath of God is raw, hypnotic, violent, and filled with macabre humor. It is one of Herzog’s best films, and one that very much introduced the civilized world to a filmmaker whose cinematic pursuits literally knew no boundaries.