Aguirre, the Wrath Of God (1972 film)

This movie, directed and produced by Werner Herzog, tells the story of a group of 16th century Spanish conquistadors who embark on an expedition in the Amazon to discover the "golden city" of El Dorado.  Klaus Kinski appears in the title role.

Some of the visual imagery in this film is quite spectacular, and reminded me somewhat of the content of some of Herzog's documentaries. Man's struggle with nature is strongly projected, as is his insignificance and helplessness when faced with the strength and pitilessness of the elements.

The plot basically centres on Aguirre's taking control of the group on the journey, in the face of mutinies, setbacks and tragedies. It is easy to conclude that the film becomes bogged down, or loses its clarity and direction, in its middle section, but these sequences are vital to understanding the narrative and the motives of the participants. With these dynamics thus absorbed, the conclusion to the work becomes more rewarding and digestible.

A large part of the fascination of this movie is its examination of power dynamics and personal megalomania, even when largely abstract and pointless, within an isolated group. A microcosm, perhaps, of human social structures and how they are affected by human nature. It also says something about the differences between real power and that which is symbolic or merely imaginary. Power can sometimes be desired and acquired for its own sake, as an end in itself, even where there appears to be no tangible objective or result.

Clearly, for a film set during the early days of European colonialism, one is forced to ask who were the civilised people, and what constitutes "civilised" behaviour. One can argue that the Europeans were self-appointed arbiters.

So overall this is a powerful, visually spectacular and engrossing film, with great, atmospheric music courtesy of Popol Vuh.

Nosferatu - Phantom der Nacht - 1979 film

I recently watched this film, directed by Werner Herzog, which is essentially a remake of the classic 1922 silent picture, which itself was essentially an adaptation of the Dracula story.

The visuals in this movie are lavish and impactful, and this factor is important in capturing and instilling the requisite mood.  The same could be said for Popol Vuh's atmospheric and evocative soundtrack. Their styles could have been made for this kind of subject matter, although perhaps not traditionally what one would associate with vampire stories.

This interpretation of the story appears to slant towards an examination of Dracula's personal plight, a psychological study, and looks at how he was trapped by his predicament.

Tension and anticipation are expertly constructed. Part of the interest is in discovering what kind of take Herzog applies to the tale and the traditions. Great use is made of brooding, menacing natural landscapes, and shadow and light. To my mind this picture is more "European" than other vampire movies, with an additional layer of mystique and eeriness.

The dialogue is relatively sparse, and this leaves gaps which accentuate the sense of dread and uncertainty. Klaus Kinski is supremely creepy in the title role, evoking a character who inspires fear, but also fascination and even sympathy.

With its Gothic majesty and the scenes involving rats, this movie is quite uncompromising, stark and unremitting, but highly accomplished technically and eminently watchable.

German Experimental, Progressive and Electronic Music

It is always satisfying, but also strangely troubling, when one’s resistance to a genre of music is overcome, and a whole new vista of exploration and enjoyment is opened up. Satisfying because in a funny way the fact that there was a reticence to embrace the music makes one savour it all the more, troubling because there is an acute sense of what one has been missing.  In recent times I have felt this way about German progressive, experimental and electronic music.

I always knew that it was there, and it seems unaccountable that I had not taken the plunge much earlier.  My tastes are quite eclectic, and some of my other musical interests should have logically and naturally led me there.  However, first impressions count, and in retrospect I think that I chose the wrong entry point.  I began my previous “exploration” by listening to the internationally well-known acts from the genre, such as Can and Faust. I did not “get” the German prog scene until I approached it from a different angle, that is via British prog acts such as Yes.  A journey which included Tangerine Dream led to the more psychedelic and “kosmische” bands such as Ash Ra Tempel and Popol Vuh, and their various offshoots, and the door was well and truly flung open…

This music also ties in with my interest in the German political scene of that period, which was quite turbulent.  It has often been commented that the recordings by a few of these artists was closely identified with the social and ideological tensions then making themselves felt.  That said, the messages in the songs are generally delivered with a deal more finesse and subtlety than those produced by purveyors of similar sounds in other parts of the globe.

Despite a reputation in some quarters for being gloomy, introspective and angst-ridden, I have found much of the music made by these bands to be wonderfully optimistic, life-affirming and infectiously joyful.

Much has been made of the extent to which the German musicians of the 1970s influenced future generations, particularly in Britain, and I feel that the concentration on this has almost obscured the merit of the music in its own right.  An appreciation of how a track was “ahead of its time” can detract from a grasp of the innate vitality of what was being performed.

One thing which is noticeable when looking at the fraternity is how quite close-knit it seems, with members of the pioneering groups often leaving for new and stimulating pastures.  And many of these solo projects and offshoot ventures added something genuinely new and vital, rather than just being curios or blind alleys.  Real adventure and ambition was much in evidence, taking the various sub-genres into exciting and uncharted territory.

For neophytes, my own advice would be to first sample the sounds of the more psychedelic and electronic-orientated exponents, with their ethereal and invigorating textures and soundscapes.  This should ensure that the more esoteric and challenging groups make more sense, and feel less discouraging and daunting. I can understand how the work of some of the latter can seem “hit and miss” at times.  When the dust has settled, you may well, like me, see Amon Duul II as an important group, with a sound both accessible and clearly ahead of its time in several respects.

One other impression which I gleaned from exploring the German music of the era in question is its relative lack of self-consciousness and pretentiousness.  A sincerity and spontaneity is present which one does not always find in similar musical movements elsewhere. Once they have taken the plunge, many people will find this world very comforting and inviting, and it is quite a diverse arena, with something there for almost everyone, if one remains open-minded.