Herzog also wants the audience to think of Shakespeare as the black man in the movie is named Okello, reminding us of Shakespeare's famous black hero Othello. In the 16th century, the ruthless and insane Don Lope de Aguirre leads a … In 1560 a Spanish expedition set off from Peru. The opening shot is a striking image: A long line of men snakes its way down a steep path to a valley far below, while clouds of mist obscure the peaks. M S Krishna Prateek’s review published on Letterboxd: "That man is a head taller than me. " From Nadia Aboufariss: "Aguirre, the Wrath of God" begins with a shot of a huge, wooded mountain side, shrouded in the mist. Because this is also a tragedy of ambition. For a split second, Aguirre’s hubris suddenly extends beyond the closed world of the film and takes on a chilling universality The power that his Aguirre wields will be the cause of all pain and suffering, not just his subjects in El Dorado. It is haunting, ecclesiastical, human and yet something else. . Anyone who even thinks about deserting this mission will be cut up into 98 pieces. Around his neck hangs a golden bauble. * Loved some scenes a lot. Aguirre, The Wrath of God is not just about a group of fifteenth-century explorers but is a poignant reflection of the world we still live in. Watched I saw this so soon because of his recommendation. Similar to Fast, Cheap and Out of Control, Aguirre focuses on obsession and madness. * By the end, I was also in awe of the purity of such a minimalist filmmaking. Werner Herzog’s “Aguirre, the Wrath of God” (1973) is one of the great haunting visions of the cinema. I think the fact that I can compare both a Shakespearean masterpiece and a modern television masterpiece to this movie shows it's depth. * This quote I love from Macbeth is very appropriate here too as this movie also points out the absurdity of human actions. The treatment of the native population and the treatment of the slaves are examples. In the morning, the raft still floats in place; everyone on it is dead. The film’s final images, among the most memorable I have ever seen, are of Aguirre alone on his raft, surrounded by corpses and by hundreds of chattering little monkeys, still planning his new empire. Death occurs mostly offscreen in the film, or swiftly and silently, as arrows fly softly out of the jungle and into the necks and backs of the men. He stalks about the raft with a curious lopsided gait, as if one of his knees will not bend. That is great, no holds barred writing by Herzog. Thanks a lot chavel for this great recommendation. * Herzog turns it around for me with some genius writing, great use of things around the location to increase the production value, philosophical poignancy, some magical (in terms of filmmaking and narrative genius) scenes and shots, and a great ending. It is considered an epic film, since it involves historical figures such as Lope de Aguirre, Gonzalo Pizarro, and Brother Gaspar de Carvajal as they went in a journey to find a mythical place called El Dorado. Aguirre contemptuously dismisses any attempt to rescue them, but a party is sent out to try to reach them from the other side. The captured Indian speaks solemnly to the last remnants of a Spanish expedition seeking the fabled El Dorado, the city of gold. Herzog is one of my favorite documentary filmmakers. The companion-film to “Aguirre” is Herzog’s “Fitzcarraldo,” also starring Kinski, also shot in the rain forest, also about an impossible task: a man who physically wants to move a steamship from one river system to another by dragging it across land. Aguirre, the Wrath of God … After the conquest and plundering of the Inca Empire by Spain, natives invented the legend of El Dorado, supposedly situated in the headwaters of the Amazon. Aguirre, The Wrath of God tells the story of an ill-fated mission to find El Dorado. Aguirre, Wrath of God (Aguirre, der Zorn Gottes). That is genius. * Herzog is obviously fascinated with madness. It’s one of a handful of films that any cinema lover must see at least once. Genius all over. Watched Herzog's "Aguirre: the Wrath of God" yesterday. With Klaus Kinski, Ruy Guerra, Helena Rojo, Del Negro. There is madness in his eyes. Here he plays the strongest-willed of the conquistadors. If they find nothing, he says, the attempt will be abandoned. I got its appeal, but to me its greatness never really came to fruition to me and it is such an overrated, immensely disappointing movie. Aguirre: The Wrath of God is art in its purest and rawest form. * I had a craving to see Embrace of the Serpent (2015) while watching it. One thinks of his documentary about the ski-jumper Steiner, who wanted to fly forever, and became so good that he was in danger of overshooting the landing area and crushing himself against stones and trees. We can just barely make out the figures who are slowly descending the slope, little bigger than specks on the screen. The movie is about Aguirre, a conquistador who initiates a rebellion against the leader of a search party. Now I am in chains.”. ... By 1970 the Hayes Code of censorship in America had been repealed but most “edgy” films still contrived an ending that attempted to repent for any “degeneracy” they had displayed. Aguirre, Wrath of God in cinemas on 7 June 2013. Aguirre, the Wrath of God, is a 1972 German film directed by Werner Herzog. The point is that death is the destiny of this expedition. Aguirre, the Wrath of God (German: Aguirre, der Zorn Gottes) is a 1972 German film about a ruthless and insane man who leads a Spanish expedition in search of El Dorado in the 16th century. His stories begin in a straightforward manner, but their result is incalculable, and there is no telling where they may lead: They conclude not in an “ending” but in the creation of a mood within us -- a spiritual or visionary feeling. What we feel above all is the immensity of the river and the surrounding forest--which offers no shore to stand on because the waters have risen and flooded it. What Herzog sees in the story, I think, is what he finds in many of his films: Men haunted by a vision of great achievement, who commit the sin of pride by daring to reach for it, and are crushed by an implacable universe. Enlongted the review to avoid spoiler comments. 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". Archived. Soul! Always further. I liked the realism. Herzog, a German director who speaks of the “voodoo of location,” took his actors and crew into a remote jungle district where fever was frequent and starvation seemed like a possibility. ... Aguirre, the Wrath of God. "Wow" pretty much sums up everything I felt after watching Herzog's film. Herzog told me that he was a youth in Germany when he saw Kinski for the first time: “At that moment I knew it was my destiny to make films, and his to act in them.”, When Pizarro fears that his expedition is a folly, he selects a small party to spend a week exploring farther up-river. But I was in complete awe by the time it ended. When he overhears one of the men whispering of plans to escape, he cuts off his head so swiftly that the dead head finishes the sentence it was speaking. One, the swarm of monkeys (great real production value too) and that butterfly shot. Posted by 4 years ago. The story follows the travels of Spanish soldier Lope de Aguirre, who leads a group of conquistadores down the Amazon River in South America in search of the legendary city of gold, El Dorado. Aguirre, the Wrath of God 1972 ★★★★★ Watched ... philosophical poignancy, some magical (in terms of filmmaking and narrative genius) scenes and shots, and a great ending. © Letterboxd Limited. Aguirre, the Wrath of God (1972) Plot Synopsis. They are dressed for a court pageant, not for the jungle. He does not want to tell a plotted story or record amusing dialog; he wants to lift us up into realms of wonder. It is by Florian Fricke, whose band Popol Vuh (named for the Mayan creation myth) has contributed the soundtracks to many Herzog films. Review by Explorer Of Movies. Likewise I saw two madness scenes at the end. A padre hands him a Bible, “the word of God.” He holds it to his ear but can hear nothing. The music sets the tone. The film is not driven by dialogue, anyway, or even by the characters, except for Aguirre, whose personality is created as much by Kinski’s face and body as by words. * I honestly did not think I was gonna like this movie as I was watching it initially. But Herzog goes to some dark depths even Shakespeare didn't imagine. For this opening sequence, Herzog told me, “We used a strange instrument, which we called a ‘choir-organ.’ It has inside it three dozen different tapes running parallel to each other in loops. 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