Aguirre, the Wrath of God
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The legendary collaborations between Werner Herzog and Klaus Kinski have become the stuff of legend in film circles. Herzog, one of the most important figures in not only German film but certainly film in general, and Kinski, the notoriously volatile, intense and brilliant actor collaborated on five films: Aguirre, The Wrath Of God, Nosferatu (a remake of the Murnau classic), Woyzeck, Fitzcarraldo and Cobra Verde. The partnership of fire and ice became so infamous that it even produced a documentary made by Herzog in 1999 named My Best Fiend that gave an insight into their director/actor relationship on and off set.

All of these are films are worth watching but it’s the first one that the pair worked on that remains one of their most bleak, harrowing and poignant. Aguirre, the Wrath of God from 1972 is about an expedition undertaken by Spanish conquistadores in 1560, down the Amazon river, to find El Dorado, the mythical and legendary city of gold.

Needless to say, everything goes to shit.

I caught the last half of this film on a station here in Australia that plays a lot of unusual and interesting films from all over the world. Maybe it was because I’d just walked in from a big night but trust me when I say it was mezmerising to watch. I’ve seen it in full a few times since and it never fails to deliver similar experiences.

Kinski is absolutely insane, giving a portrayal of what can only be imagined as authentic in comparison to the real life Lope de Aguirre, despite Herzog’s clarification that he took many liberties with the film. The themes of man vs. nature are brought to the fore, with one of the clearest examples appearing at the start of the film where a sedan chair is attempted to be brought through near-impassable, muddy terrain. The complete absurdity of the whole situation is highlighted when the expedition is brought to a standstill.

This film shows madness and bizarre attempts to conquer by means of greed like no other. It clearly resembles Conrad’s Heart of Darkness and Coppola’s Apocalypse Now, two other stories that deal with what happens at the end of river. Popol Vuh’s ambient and celestial score adds to the dreamlike vibe of the film, particularly the long shots that depict the insignificance of the travelers against the endless green hell. It’s like they’re already dead and are travelling through to the otherside, particularly when the narrator tells us they travel through the clouds. Certainly one of the most important films in Herzog and Kinski’s many achievements, enjoy Aguirre, the Wrath of God.

Aguirre, The Wrath Of God (1972) pt. 1 by karimberdi

Aguirre, The Wrath Of God (1972) pt. 2 by karimberdi