Aguirre, the Wrath of God Review

Aguirre, the Wrath of God 1972

Reviewed by: Dan S.

Directed by: Werner Herzog

Written by: Werner Herzog

Starring: Klaus Kinski

Languge: German

Aguirre drifts somewhere between the most gritty realism and the most stylized of the surreal. Painfully shot on location in the grueling jungles of South America, Herzog lingers on the scenery in such a way that the misty mountains and raging rapids start to take on a strange dream like quality. The droning minimalist musical score adds to the hazy, trance inducing atmosphere. Much like the doomed characters of the film, the viewer also becomes lost in a fever dream where reality and fantasy blur. You 'll see a distant ship nested in the tree tops and wander if it is really there or not. All the while, Herzog's eye for harsh realistic detail serves as a reminder of the film's reality. There is a strange numb dread about the movie, one of the most peaceful descents into oblivion you can possibly hope for. Even the more violent death scenes come across as being painless and gradual, so much so that many of the characters don't even seem to notice that they're dead, let alone care. Just as death gradually consumes the characters, the apocalyptic climax creeps up on the viewer without them even knowing it.

The story is a simple one, told visually and with little dialouge. The missionary (Del Negro) spaciously narrates the more concrete aspects of story. On the surface it is simply a tale of greedy conquistadors who revolt against orders, sail down the river, and are gradually killed off by hunger, illness, natives, and each other. Kinski approaches Aguirre with a quiet, controlled intensity that makes his character far more disturbing than any ranting lunatic; letting his expressive eyes convey the scheming madness and menace boiling under the surface. Kinski, of course, dominates every scene, but the supporting performances are also fantastic. In addition to Del Negro, Helena Rojo and Ruy Guerra give near-silent, strong-faced performances that interestingly clash with the tragedy of their situation. They are sympathetic, but they aren't asking for your sympathy or even your support. While none of the supporting characters are boundless with development or depth, everyone is at least allowed a revealing scene or two that makes them more than just props for Herzorg's camera.

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Bad Lieutenant: Port of Call New Orleans Review

Bad Lieutenant: Port of Call New Orleans, 2009

Reviewed by Dan S.

Directed by: Werner Herzog

Written by: William Finklestein

Starring: Nicolas Cage, Eva Mendes, Val Kilmer, Brad Dourif, and Xzibit.

Bearing only superficial similarities to the brutal 1992 neo noir Bad Lieutenant, ...Port of Call New Orleans is not so much a character study but the neutral observation of a police detective’s cocaine fueled descent into self destructive behavior. As the film unfolds it becomes clear that this is not a cautionary tale of redemption but a hilarious and suspenseful farce about how much this madman can get away with before it all catches up with him. Legendary German New Wave director Werner Herzog successfully executes his unique style to perfection as he explores the mad and surreal with exciting documentary grit and authenticity. The atmosphere is muggy and suffocating as the hot Louisiana sun constantly blares through shuttered windows in a natural but slightly stylized way. Without the use of any CGI or artificial staging, the camera often hypnotically dwells on natural cloud formations, interesting locals, and live exotic animals, while sporadic drug induced hallucinations are so casually presented they are as real to the viewer as the tripping Lieutenant himself. Conducting a diverse standout score, Mark Isham’s moody jazz evokes classic film noir with a strange acid twist while the frequent use of classic blues recordings add to the New Orleans vibe.

In the film’s most prominent supporting role, a rough looking Eva Mendes shines with a shockingly solid dramatic performance as a sympathetic prostitute. Dourif and Kilmer add interesting color in small character parts, but this is really the Nic Cage show, and everyone else is just props for him to project his misguided affection and profane rage upon. Herzog lets Hollywood’s craziest leading man run wild and the gamble pays off. Much like the veteran director, Cage really doesn’t add any new dimension to his game, but his jittery bug-eyed histrionics have never been better timed and more appropriately staged. His exaggerated mannerisms and outbursts are not distracting over acting - they are the foundation the movie is built around.

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