Aguirre, the Wrath of God

1972

Adventure / Biography / Drama / History

11
Rotten Tomatoes Critics - Certified Fresh 98%
Rotten Tomatoes Audience - Upright 91%
IMDb Rating 8 10 44836

Synopsis


Uploaded By: FREEMAN
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October 12, 2018 at 08:31 AM

Director

Cast

Klaus Kinski as Don Lope de Aguirre
720p.BLU 1080p.BLU
793.81 MB
968*720
English
NR
24 fps
1hr 35 min
P/S 10 / 71
1.5 GB
1440*1072
English
NR
24 fps
1hr 35 min
P/S 29 / 121

Movie Reviews

Reviewed by mstomaso 10 / 10

Brilliant, beautiful and desperately disturbing

Werner Herzog and Klaus Kinski's masterful achievement - Aguirre: The Wrath of God (Aguirre, der Zorn Gottes) is a rich and powerful film set deep in the the South American rain forest. Ostensibly a piece of historical fiction based on fragmentary evidence concerning one of the many ill-fated attempts to find and conquer the mythic El Dorado (a city of gold rumored to be anywhere from southern Canada to Patagonia), Aguirre operates on so many levels and reflects so many aspects of its story that it is difficult to convey precisely what the film is really about. It is too fictionalized (yet plausible) to fit comfortably in the "historical fiction" shoebox; the dialog is as much a presentistic bit of reflexive thinking as it is fitting for the historical context of the film; and the setting is so breathtaking that without a plot and without the brilliant concept and fantastic acting, the film would still be breathtaking and painful.

The opening scene, which very slowly depicts a caravan of Spanish soldiers, African and South American Indian slaves, burros, horses, cannons, and provisions making their way down a steep mountain path surrounded by miles of rain forest, is breathtaking and ominous, and sets not just the tone, but the pace of the film. Many people will find the pace a little too slow to handle. After a few minutes of struggle, the nobleman leader of the expedition throws in, and appoints a small number of participants to go forward into the jungle. Of these, only Lope Del Aguirre, a career soldier with vast ruthless ambition, and Ursua, a more gentle nobleman, are really leadership material. As the party floats down-river on rafts, it rapidly becomes clear by whose will the party continues on, and who will emerge as its sole leader in the end.

Herzog develops some of his usual themes in this film, and does so with poignancy and cinematography nothing short of beauty. The film is about power, madness, religion, oppression, nature, and culture, but certainly does not stop there. This is film as high art. Brilliantly executed, multi-faceted, moving, and as ambiguous as real life so often is.

This is also one of the great actor Klaus Kinski's most profound and appealing roles. Though Kinski was later typecast in mad, or at least eccentric, roles, as Aguirre he is able to show his range very effectively - because the character varies from a cold, brooding, Machiavellian rationalism to an obsessive sociopathic suicidalism. The rest of the cast rises to the challenge and acts right at Kinski's level, making this film one of the best actors/production team collaborations I have ever seen.

This film is definitely not for everybody, it is a long, slow sip of delicious and yet bitter wine which the typical movie-goer will only appreciate when 'in the mood' for something which requires thought and energy to watch. It is also one of my favorite films of all time.

Reviewed by Freddy_Levit 10 / 10

Aguirre's vision. Aguirre's obsession. Aguirre's downfall......The wrath in 'Human Nature'

Klaus Kinski's enigmatic and frightening portrayal of man's obsession in Werner Herzog's nightmare masterpiece Aguirre: The Wrath Of God is a German film that is as powerful today as it was when released back in 1972. Kinski and Herzog's absolute real life hate for one another only makes the film more real in its depiction of a man driven to the edge of sanity as his obsession for a mythical treasure - so obsessed that he sacrifices all that is precious to him in finding it. Like the 'Mosquito Coast', an almost identical film, it concentrates on the human condition, in how far 'man' can go in his quest of becoming God. Werner Herzog, who's persistence in Klaus Kinski to star in most of his films, is a master storyteller and one great director, famous for other films starring Kinski including "Fitzcarraldo" and "Woyzeck". "Aguirre: The Wrath Of God", however, is his and Klaus Kinski's most famous and one of the most powerful films of all time.

Entirely a true story, set in the 1600s, following the annihilation of the Incas Empire, when the Spanish Conquistadors explored and roamed most of South America, a legendary expedition set out in Peru into the Amazon River to locate the mythical City Of Gold, El Dorado. Pizarro, the leader of the expedition comes to the point where he must turn and head back to civilization, following a long and tormenting journey that ultimately led them to nowhere. Fearing they'll get lost in the uncharted jungles of the Amazon, he sends a smaller group to complete the journey and commands them to return within a few days if no Gold is found. It is only a matter of time before this group faces unbearable difficulties down the Amazon River. Fearing the leader of their new group might turn back to prevent any more men being killed, Don Lope de Aguirre (Kinski) inspires a mutiny and manipulates the men in believing that with the riches they would find they wouldn't need to go home. They must battle with the native enemy they can't see and walk through the most difficult terrain on a most terrifying quest. What follows is a devastating character study of human nature and how one's obsession can destroy him and everything that really matters.

This film comes as a rarity in our world gone mad - a world controlled by greedy, obsessed and powerful dehumanized people. Klaus Kinski was one of the world's most profound and versatile actors. His rough, striking and villainous exterior gave him an almighty presence. He creates such a vividly obsessed and evil character in the film, you are easily convinced he is for real. I believe his abhorrence for Werner Herzog assisted him in his performance. Never during filming did they ever share ideas, always opposing and showing one's hatred for one another, which leaves people questioning their constant repairing. But Werner Herzog makes no mistake when casting Kinski in his films. Kinski drives the film, sometimes completely on his own. Werner Herzog's films are always extremely deep, philosophical and mythical. The cinematography is consistently breathtaking and never fails to transport you to the world Herzog intends to take you. And music perfectly paints the picture of human degradation, with its slow, subtle and haunting tone. It sticks in your head long after the conclusion and adds immensely to the the power of the film.

'Aguirre: The Wrath Of God', much like 'The Mosquito Coast', is one of the most poignant character studies in film history. It is in German with subtitles, but you are bound to forget they are there, as this epic film will take you to the vast and dehumanizing Amazon on an adventurous journey you will never forget. See this for the adventure if not for the underlining depth. It is a master work from a unique artist that is Werner Herzog and made a classic by the colossal Klaus Kinski. A beautiful and haunting experience that is not to be missed.

Reviewed by wshelley 10 / 10

'We will stage history, the same way as other men stage plays.'

This proclamation comes from Don Lope de Aguirre, sailing aboard a lifeless raft, drifting aimlessly down the interminable run leading to the fabled city of El Dorado. This quote is a perfect representation of the mindset of Aguirre, 'The Wrath of God'. He is consumed within his unrelenting determination to satisfy his deepest desires of avarice, supremacy, and grandeur. His obsessions slowly begin to affect his judgment, and his passion enthusiastically blinds his perception of reality, blurring the distinct line between actuality and fabled illusion. Aguirre becomes firmly intent on conquering all of South America, of breaking away from the Spanish crown and beginning a new world securely under his unconditional domination.

Aguirre becomes capable of garnering support among his men through promises of unimaginable riches, impenetrable authority and security, and perhaps most importantly, with the promise of a glorious adventure into the heart of the unfamiliar. However, it must be understood that Aguirre was able to initially succeed in his plans due to the willingness and complicity of the men under his control. The absence of dissension was due not only to fear of the potential consequences, but was also a result of the general attitude of the available men. The promises of the power of greed were compelling enough to create strict uniformity and acquiescence to the selfish goals of Aguirre. The story of Herzog's film is as old as the history of Western civilization itself. One infatuated madman becomes able to rally the spirit of a foolish herd behind him through the false promises of unrestricted glory, indestructible power, and incomprehensible wealth. Of course, the second part of Herzog's film is also the most common, recognizable conclusion to such a familiar story. All authority must cease eventually, as nothing built on the foundations of deception and falsity can stand forever. It is through this identifiable situation that Herzog is able to illustrate the fragility and insanity of such wild quests for power. All men maintain the same illusions of grandeur and magnificence, however the attempted acquisition of such desires can often result in tragic consequences, as is made evident in Aguirre's most logical conclusion.

What are the tragic consequences of Aguirre's pursuit of the unattainable? The most obvious response to this question would be the loss of his only daughter, his sole reason for being and continuance in the face of adversity. His quest for power is not only a self-satisfying attempt to escape the dreadful monotony of mortality, but it is also meant to bring veneration, allegiance and complicit submission to the forthcoming generations of his family line. The death of his daughter is the signification of the death of Aguirre's unforeseen future, and the cessation of his greatest hopes and aspirations. The tragic separation between a father and his daughter is a universally empathized situation, and Herzog does well to incorporate this moment of indeterminable significance into his film's climactic infusion of incalculable remorse and impending self-destruction. However, despite the realization that his journey has ended in complete failure, Aguirre remains entrapped within his ideological pursuits. He refuses to accept his defeat, and remains steadfastly determined to conquer all that surrounds him. Even the death of his own daughter is not enough to shake the madman from the foundations of his deepest latent fixations, made manifest through the complete destruction and manipulation of his encompassing environment. Aguirre continues to outwardly express his darkest desires, failing to identify his complete isolation and withdrawal from reality. Even when there is nobody to share his inane ramblings with, Aguirre remains absorbed within his delusions. His slow descent into madness comes full circle at the film's conclusion, as Aguirre remains the sole survivor aboard the aforementioned direction less raft, sailing toward some unmistakably predetermined termination. The film's ending is illustrative of the typical conclusion of the typical madman's expedition. There is nobody left for Aguirre to command or abuse, to consult with or confide in, to inspire or to befriend. This is because Aguirre failed to grasp the inevitable futility of his situation, and the enigmatic insanity with which he conducted his operation.

Herzog's conclusion is not quite as clear and decisive as some would leave you to believe. Certainly, Aguirre has lost his source of power, his meaning for continuation, and his sanity in the process. However, he is still alive, and he has not learned anything from his experience; he is just as stubbornly determined as when his exploration began. Perhaps this can be viewed as a not so subtle commentary on the inability of selfishly driven men to realize the folly of their ways, and to seek forgiveness from those that they have harmed in the process. Or perhaps Herzog is suggesting that men like Aguirre will always survive the repercussions of the materialization of their own insane aspirations, and it is only the sheep that will suffer the consequences from compliance and strict obedience. Or perhaps the survival of Aguirre is an illustration of the indestructible perpetuation of human greed, cruelty, and irrationality. With men like Aguirre readily available in the world, it is only plausible that such failed expeditions will be tried again. Logic that 'The Wrath of God' himself employs as justification for the continuance of his adventure in the face of overwhelming odds. Whatever Herzog's implications in the final scenes suggest, it is only certain that Aguirre's stubbornness resulted in a path of unnecessary obsessive destructiveness; An obsession that destroyed all hope for the future, and made a mockery of the past.

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