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.

The Enigma Of Kaspar Hauser - 1974 film

One of the most affecting films which I have seen recently was The Enigma Of Kaspar Hauser, written and directed by Werner Herzog, and released in 1974.

Based on real events, and set in the 19th century, the movie follows the experiences of Kaspar, who had spent the first seventeen years of his existence imprisoned in a cell, with little or no contact with society or other people. One day he is released from this captivity by a mysterious man dressed in black who had apparently fed him previously.

Initially Kaspar is "abandoned" in a nearby village, and is viewed with curiosity by the locals. Having been cut off from "civilization", he has not been nurtured, or raised on societal norms. He therefore exhibits different thresholds, interpretations and reactions towards things around him.

The spectacle of Kaspar getting used to his new surroundings got me thinking.  Perhaps people don't realise what "natural" is, and overlook the impact of man-made customs and laws. Because Kaspar does not conform to society's conceptions of "civilized" behaviour, it seems that the people decide that he has to be exploited, demeaned and humiliated. Fear and ignorance come into play here, in addition to deference to the status quo and "how things are done".

Kaspar was taught by the villagers largely on their terms.  Later, after being rescued and "adopted" by a professor,  he was allowed to find his own way more, and to express himself.  Unsullied by the strictures of mainstream society, he is not brainwashed and indoctrinated like others, on questions of religion, social status and morality. Also, he refrains from subscribing to conventional wisdom on some academic matters.

Kaspar has not been tutored in the niceties of polite society.  He is not aggressive, but he has developed differently. In seeing his musical inclinations, we perhaps see a hint that some things transcend social mores and hierarchies.

The concluding passages of the film are pleasingly ambiguous, and are open to various interpretations. One idea in my mind was that Kaspar was physically attacked because he was not "developing" or assimilating in the manner hoped for or anticipated, and that the "experiment" was going awry.

I found the autopsy scenes fascinating. The participants were arguably missing the point on the question of "abnormality".  Perhaps it is the others who are strange and abnormal, rather than Kaspar himself?

This film was a very interesting and intriguing watch, posing some fairly profound questions about how our society, and our perceptions of normality, have developed over the centuries.

The Great Ecstasy of Woodcarver Steiner

I just thought that I would post my thoughts on this documentary film from 1974, directed, produced and written by Werner Herzog. I had seen clips from the film before, but yesterday I watched it in its entirety for the first time.

The film takes a "fly on the wall" look at the world of ski-jumping and its participants, following the Swiss jumper Walter Steiner and capturing his hopes and fears. Steiner was also a carpenter, hence the title of the movie!

Herzog made excellent, and it would seem quite innovative, use of slow-motion cameras, and there are some stunning shots of jumpers in flight. The pictures are accompanied by an evocative prog-rock soundtrack. Well, it was 1974!

One of the things which struck me was how dangerous the sport was back then. Even in the mid-1970s, most ski-jumpers wore just woolly hats on their heads. No crash helmets....

Werner Herzog himself appears on camera, mostly on location at the ski-jumping venues.

For sports fans, and devotees of 1970s' popular culture, this film is essential viewing.