‘Fitzcarraldo’, the 1982 epic-adventure film by the German filmmaker Werner Herzog, is the kind of film that can claim few peers. Focusing on a favorite theme of the filmmaker – egomaniac characters doing unbelievable feats and pushing the very limits of humanity – the film certainly reflects Herzog’s rigorous approach to his art. Filming the masterpiece in an unfamiliar part of nature and without resort to any CGI, Herzog has managed to move through so many obstacles that could simply put the project to a definite full-stop. Notwithstanding the daunting special effect the team had to devise, the leading man, originally starred by Jason Robards, had to be changed abruptly when the actor succumbed to illness. Calling in Herzog's many-time partner – and in a sense nemesis – Klaus Kinski to the set, the legendary actor replaced Robards and delivered another brilliant performance of a lifetime, comparable to the memorable Aguirre. The outcome may be unintentional, yet we can all anticipate that when we put Kinski into the equation: who in this universe can be as convincing as an egotistical mad genius other than the great actor from ‘Aguirre, Wrath of God’?
The film, which is based on a true story, is just as extreme as ‘Aguirre’. Brian ‘Fitzcarraldo’ Fitzgerald (who was influenced by the real Peruvian Carlos Fitzgerald) was a rubber baron who wished to explore development in the natural landscapes of Peru. With a great taste in opera, he pitched the idea of building an opera house in the middle of the forest. His ideas certainly raised eyebrows from the locals and his employees. Undaunted by any doubts out of a sound and rational mind, Fitzcarraldo pushed forward with his visions, at one point hauling a steam boat – intact – over a steep hill. Would our protagonist realize his dream, or was he just going too far?
Herzog often adopts unique approaches to his filmmaking, and he can often employ the various filmic elements to his advantage. Not relying on any ‘cheats’ from the possibility of special visual effects, he decided to drag a real boat in the iconic scene. The feat appeared to be insurmountable, and unfortunately led to a few injuries for the cast, yet the final result has demonstrated such a realism that no audience would doubt if that could happen in real life. The pitfalls of Fitzcarraldo’s mission were brilliantly played out, not through a hyped way of portraying action in many modern films, but through a slow-burn approach, banging slowly through a solemn cinematic rhythm. Even when the action did not appear to be fast paced or ‘exciting’ in any modern sense of these terms, the audience could appreciate that something would inevitably go wrong in the plan.
Klaus Kinski, whose combative and mercurial personality has been legendary on film sets, was again cleverly channeled by Herzog for the effects of the film. Certainly not being very friendly towards others in the project, Kinski’s temperament has been transposed onto the relationships between Fitzcarraldo and his workers, and that is often the case when one has to work for a charismatic, yet egoistical leader. The archetype of charismatic leader, with the mega can-do attitude and insatiable drive, strives hard to achieve the dreams and visions no matter the cost. It is indeed quite chilling to see that these characters are often manipulative and convincing in a sense that their followers are willing to submit to their power and commit sacrifice for them. Thinking of historical figures like Napoleon Bonaparte, one can see that if the leader does not have charisma, or possesses an eloquent rhetoric that can convince the mass that their bigger-than-life dreams are possible to come true, there may never have any of these significant feats in history. Herzog, like what he has done in many of his other films, was not trying to judge if Fitzcarraldo’s obsession was right or not. He shared with us such an impossible achievement just to allow us to make up our own minds. Be it reality or fiction, the ambivalence demonstrated by the troubled geniuses was what has pushed humanity forward.
by Ed Law
Film Analysis
