1982 Directed by Werner Herzog
Fitzcarraldo is a dreamer who plans to build an opera house in Iquitos, in the Peruvian Amazon, so, in order to finance his project, he embarks on an epic adventure to collect rubber, a very profitable product, in a remote and unexplored region of the rainforest.
Klaus Kinski Claudia Cardinale José Lewgoy Miguel Ángel Fuentes Paul Hittscher Huerequeque Enrique Bohórquez Grande Otelo Peter Berling David Pérez Espinosa Milton Nascimento Ruy Polanah Salvador Godínez Dieter Milz William L. Rose Leoncio Bueno Veriano Luchetti Costante Moret Dimiter Petkov Mietta Sighele Lourdes Magalhães Jean-Claude Dreyfus Isabel Jiménez de Cisneros Liborio Simonella Jesus Goiri Christian Mantilla
Φιτσκαράλντο, ο τυχοδιώκτης του Αμαζονίου, フィツカラルド, Fickaraldas, Фицкарральдо
War and historical adventure Epic history and literature Humanity and the world around us Epic heroes journey, scientific, humanity, documentary or earth adventure, epic, exciting, action or tribe disaster, exciting, boats, voyage or adventure cannibals, gory, gruesome, graphic or shock death, profound, symbolism, philosophical or vision Show All…
Based on a true story! The boldest most ambitious project launched by Werner Herzog has become his worst nightmare! It was literally Herzog's "Apocalypse Now". Everything that could possibly go wrong went wrong! It's as if the film was cursed right from the get go! Like Fitzcarraldo, Werner Herzog dives into the deep end of a mind numbing obsession!
Behind the scenes Klaus Kinski goes on one of his legendary rampages and irks the natives to the point one of the chiefs goes out of his way to tell Herzog he would kill Kinski for him! There is no doubt about it Klaus Kinski and Werner Herzog were both out of their ever lovin minds and the camera captured this…
Fuck La La Land, this is the film for the ones who dreams! Its by these mad dreams and obsessions the most stunning achievements, moments and creations are made. Fitzcarraldo is a glorious, madly ambitious and fun spectacle.
(sorry la la land that was unnecessary, i still like you)
"He pushed the opera house over the waterfall! Via the exploitation and labour of native Peruvians! But that's okay! BECAUSE HE WAS A GENIUS"
As blood is spilled in Fitz's quest to do something no one has ever done (nor would ever do again), it became clearer than it ever has been before. There are no manmade wonders not built with blood. Perhaps this is why the Grand Canyon is said to be so magnificent--no one suffered to make it. It simply is, a vast stretch of land ripped out of the landscape by God, nature, or both. But manmade wonders have all been crafted by slave or serf labor, exploitation or oppression, blood money, or other ruthless contracts. Fitz's quest is predicated on blatant exploitation (of the religion of his workers, no less) and dangerous obsession. I don't know what wage Herzog paid…
76/100
Dragging the ship over the mountain occupies a much smaller percentage of the film's running time than I'd remembered—an hour and a half elapses before Fitz even announces/explains the plan. Nor does Herzog make this remarkable feat of engineering as visually spectacular as it might have been in the hands of a stronger formalist. Doesn't really matter, though, as there's plenty of awe to be mined from ordinary, everyday laboriousness. It's easy to forget, but utterly crucial, that nothing Fitzcarraldo does in this movie directly serves his ultimate purpose, which is to build an opera house in Iquitos; though he blares Caruso from the ship at key moments as a sort of self-motivational tool, his entire scheme is just…
"The arrogance of man is thinking that nature is in our control, and not the other way around." -Dr. Ishiro Serizawa, Godzilla (2014)
Werner Herzog's exacting precision regarding the realism and scale of his films makes them truly enduring beauties. The old saying "the more fun something was to make, the less fun it is to watch" finds its ultimate inverse proof here in Fitzcarraldo: production was a disaster, but the result is a treasure. Klaus Kinski fought so often over such trivial matters that members of the crew offered to have him killed, and the dangerous nature of Herzog's audacious stunts and set pieces left at least two cast members dead. But from these hardships grew unprecedented cinematic art.…
I think we can all agree that we've got nothing but love for Cholo.
Cholo is pretty much the coolest dude on the block.
This movie raises a lot of questions;
But above all else, what I want to know is:
Does Cholo even realize how cool of a dude he is?
#Ch0L0 #Y0L0 #jungl3$w@g #$pRiNgbr3@KiNth3jungl3 #m0st@wkw@rdDiNn3r$c3n3iNth3Hi$t0ry0fCiN3m@
#Kl@u$KiN$Ki$f@c3
operachic.typepad.com/.a/6a00d83451c83e69e201127943af0928a4-450wi
5/5
I don't listen to a lot of opera but sometimes, like yesterday around half past two as the sun crept across the balcony of this AirBnB I'm staying in right now, and things began to seem inconsequential and absurd, it makes a confusing kind of sense. In a box of tapes, among recordings by Loverboy, Sade, and Miles Davis, I found a Three Tenors greatest hits and pushed it into the hifi and allowed this most unnatural of artforms to escort me through another limbolike, amoebic afternoon. Later on I made dinner and drank mucho vino collapso and watched Fitzcarraldo; and today in my notes I find the remark "opera is Kinskiian". I suppose a more rational way of putting…
Fitzcarraldo serves as a reprise of the main motive that characterized Aguirre, Wrath of God (1972): hubris. With due distinctions, both of the movies are a cautionary tale on the perils of arrogance, especially when that arrogance goes against Nature. In both movies Klaus Kinski's character finds himself surrounded by high, flourishing mountains, and with his mind set on exploiting the resources the mountains could provide, he tries to conquer them. In Aguirre he never achieved that, in Fitzcarraldo it may seem as if he does, for a brief moment, only for his efforts to be vanquished. Nature's revenge is even sweeter in this one, more carefully thought out, planned to crash the man, not physically, but mentally. We are…
There is, in virtually every single Herzog film, at least one moment in which the hammer of its authenticity hits me square between the eyes. This movie is filled with those moments.
Then there’s this one bullshit Mister Roger’s Neighborhood model steamship shot that occurs during the rapids sequence and that Herzog holds on for far too long. Any other movie with smaller ambitions would’ve gotten away with it, but it looks tawdry in the middle of a Herzog experience. It made me laugh, which, you know, Herzog does love to make people laugh, so I guess it’s all good.
Anyway, the ways and reasons in which Herzog deviates from the source material in his historical films always fascinates me.…
"The jungle plays tricks on your senses, it's full of lies, demon, illusions. I have learned to tell the difference between reality and hallucinations" - Scary Expedition Leader
AND
"I told you I need men, not milquetoasts who will shit their pants" - Don Fitzcarraldo.
- Herzog Ranked: boxd.it/3MAT6
- 5x5 Director's Challenge (Herzog 2/5): boxd.it/3IUJC
Feeding money to a fish is as baller as it gets. Seriously, that is some first class douchebaggery.
I love this film because it's batshit crazy that they went through the process to do all of this in real life. In Fitzcarraldo, a man hustles his way into the rubber industry in order to fund an opera house in the middle of the Amazon…
