1972 ‘Aguirre, der Zorn Gottes’ Directed by Werner Herzog
A few decades after the destruction of the Inca empire, a Spanish expedition leaves the mountains of Peru and goes down the Amazon river in search of gold and wealth. Soon, they come across great difficulties and Don Aguirre, a ruthless man who cares only about riches, becomes their leader. But will his quest lead them to "the golden city", or to certain destruction?
Klaus Kinski Helena Rojo Del Negro Ruy Guerra Peter Berling Cecilia Rivera Daniel Ades Edward Roland Alexandra Cheves Armando Polanah Daniel Farfán Julio E. Martínez Alejandro Repullés Claus Biederstaedt Lothar Blumhagen Heinz Theo Branding Christian Brückner Michael Chevalier Norbert Gescher Justo González Uta Hallant Manfred Lehmann Antonio Marquez Gerd Martienzen Edgar Ott Uwe Paulsen Dieter Ranspach
Aguirre furore di Dio, Aguirre, a Cólera dos Deuses, Aguirre, la ira de Dios, Аґірре, гнів Божий, Aguirre, hněv Boží, Aguirre, la cólera de Dios, Агирре, гнев божий, Aguirre, a cólera de Deus, Aguirre, mânia lui Dumnezeu, Aguirre: Kami no Ikari, Aguirre, la colère de Dieu, 아귀레, 신의 분노, アギーレ／神の怒り, Aguiree, Tanrının Qəzəbi, Aguirre, the Wrath of God, Aguirre, furore di Dio, 阿基尔，上帝的愤怒, Aguirre - Guds vrede, Aguirre, o Aventureiro, Αγκίρε: Η Μάστιγα του Θεού, אגירה: זעם האל, Агірре, гнів Божий, Aguirre, Tanrı'nın Gazabı, Aguirre, gniew boży, Aguirre, den gale erobrer, Агире, гневът Божи, Aguirre, Isten haragja, Aguirre, hnev boží, 天譴, Agirė, Dievo rūstybė, Aguirre, la còlera de Déu, Aguirre – jumalan viha
Germany12
UKPG
France
Spain18
USA
South Korea12
Greece13
Netherlands12
Netherlands12
France
Germany
Greece
Netherlands
South Korea
Spain
UK
USA
A bunch of idiots go to South America and pack the wrong clothes. Loved it.
100/100
"That man is a head taller than me. That may change."
A towering vision. As grand as the mist-enshrouded mountains and as chaotically mad as a raft overtaken by monkeys; Herzog's film removes any barrier between audience and character, fact and fiction, reality and dreams. By the end, even the ordinary is swirling, collapsing its horrific, surreal depths into a single image of colossal weight. Not one second is detached from Werner Herzog's own journey. Its voyage beyond the expanses of civilization mirror the unyielding ambition of artistry, showcasing the possibilities and dangers of cinema through a stolen camera lens. It's the kind of movie that makes you wonder not only "how'd they do that?" but "why?", and although…
A close-proximity, stylized documentary depiction of colonial cruelty and arrogance entering a feverish, bleakly slapstick jungle dreamscape and getting violently swallowed by the earth. Ants "conquering" a hill and calling themselves gods even while they slowly kill each other, starve to death and deliver rousing speeches to literal monkeys. Feels like a pretty clear precursor to the indifference of nature and sensory madness we'd eventually see in things like Sorcerer and Apocalypse Now, and between this and The Great Silence you could have one hell of a double feature of Klaus Kinski as an eerily quiet psychopath who reveals his aspirations of grandeur and unhinged, violent impulses when granted political power. "The earth I walk upon sees me and quakes."
Tribute to Ebert/U. of Chicago Graham School Class #3
Two biggest takeaways this viewing (besides just how indebted APOCALYPSE NOW is to it): 1. Aguirre is actually the sanest, most practical member of Pizarro's doomed crew of conquistadors. He doesn't lose his mind in the jungle so much as recognize right away that the chaos of the jungle suits his particular brand of grand delusion — and then proceeds to embrace the possibilities. 2. Related, Kinski is far from the howling madman I remembered, or that his reputation might lead you to believe. He's downright subtle. You heard me, subtle. But no less commanding and charismatic (and scary) a presence, helped by Herzog's low angle close-ups.
Gets 5 stars because it's ridiculous that in just his third feature film, Herzog managed to deliver all-time classic opening AND closing scenes.
Touch my monkey, touch it.
"That man is a head taller than me. That may change."
(Klaus Kinski as Don Lope de Aguirre)
THIS JOURNEY INTO THE HEART OF MADNESS WOULD GO ON TO INSPIRE COPPOLA IN MAKING "APOCALYPSE NOW"
Film #1 of 'It's June Jim, but not as we know it.'
Aguirre: The Wrath of God is art in its purest and rawest form.
With a stolen camera, a script, a tiny crew and no storyboard, Herzog set out to film a story of megalomania and madness. What he has created is something that exists only the way it is because of the circumstances it was created in. As he shot most of it spontaneously the film has instances of a bizarre blurring of reality and fiction, as it is sometime very clear that in certain scenes the actors weren't actors but real human beings responding to the very rough situations they found themselves in. For me, that made…
Holy God this movie is beautiful. Werner Herzog's destructive perfectionism shows through in every shot. The lack of cinematic artifice is truly unimaginable and makes the film not only stand the test of time but feel as real and immersive as anything made today, if not more so. Unparalleled location shooting. Klaus Kinski is pitch perfect as Aguirre with equal parts tyrannical callousness and psychotic avarice. Riveting storytelling which eloquently manages magnificent but measured changes in both character and atmosphere despite its brief runtime. Poignantly pokes fun at the impotence of social hierarchies when confronted with the immense power of nature. Ominously depicts the consequences of fanatical devotion to fantasy.
Oh boy, here we go. Now, there is no doubt that Werner Herzog is a masterclass director. From stunning documentaries like Grizzly Man, to macabre works of art like Nosferatu The Vampyre; Herzog knows how to make a great movie. I just don't know what he was doing with this one. I think I might be all alone on Letterboxd, but I found this to be one underwhelming and tedious piece of work.
The Awesome: Klaus Kinski. Klaus Kinski. Klaus Kinski. What an actor. Disturbing, darkly comic and manipulative; He seeps right into the soul of Aguirre. The cinematography is beautiful as well, capturing mist gliding along the sides of mountains, and the rushing water rolling down the river. I…
The prologue is both exposition and a riddle itself: “After the conquest and plundering of the Inca empire by Spain, the Indians invented the legend of El Dorado, a land of gold, located in the swamps of the Amazon headwaters. A large expedition of Spanish adventurers, led by Gonzalo Pizzaro, set off from the Peruvian highlands in the late 1560. The only document to survive from this lost expedition is the diary of the monk Gaspar de Carvajal.”
Werner Herzog’s Amazon journey was the hardest film there ever has been made (I’d rather have joined the “Apocalypse Now” shoot), so remote and cut-off from typical filming locations, I don’t believe I’ll ever see another filmmaker in my lifetime replicate anything…
Bodies on a raft, a monk stood mid-stream in mourning. A burning village, bodies and bones in plain view. Aguirre, the Wrath of God is a journey into madness, a descent into hell. It is made with a desperate energy, a sense of reality crushing history into a compact treatise on one man's illusion and his powerful obsession. It is a stupendous work of art, one of the greatest films to ever exist.
You feel all the effort and craziness that went into the journey of Aguirre, the Wrath of God. Through the beautiful landscape, the characters travel, as did an entire film crew, and the camera shakes - a handheld, improvised madness - and creates a mixture of the…
