For nearly five years, acclaimed German filmmaker Werner Herzog desperately tried to complete one of the most ambitious and difficult films of his career— Fitzcarraldo, the story of one man’s attempt to build an opera house deep in the Amazon jungle. Documentary filmmaker Les Blank captured the unfolding of this production, made more perilous by Herzog’s determination to shoot the most daunting scenes without models or special effects, including a sequence requiring hundreds of native Indians to pull a full-size, 320-ton steamship over a small mountain. The result is an extraordinary document of the filmmaking process and a unique look into the single-minded mission of one of cinema’s most fearless directors. —The Criterion Collection
Les Blank (b. 27 November 1935, Tampa, Florida, United States) is an American documentary filmmaker best known for his portraits of American traditional musicians.
Blank attended Tulane University in New Orleans, where he received a B.A. in English literature and an M.F.A. in theater. He had also studied communications at the University of Southern California. Following his university education he founded his own production company, Flower Films, and most of his films since that time have been independently produced, often with the assistance of grants from cultural agencies, both governmental and non-governmental.
Most of his films focus on American traditional music forms including (among others) blues, Appalachian, Cajun, Creole, Tex-Mex, polka, tamburitza, and Hawaiian musics. Many of these films represent the only filmed documents of musicians who are now deceased.
Blank’s films focusing on musical subjects often spend much of their running time focusing not… read more
Beautiful shots framing the madness of the filming of Fitzcarraldo and Herzog in the jungle. My favourite doc I've seen.
Herzog lends himself by very nature of his oddity to be the prime subject of documentation. Therefore at the outset you know this is going to be interesting to say the least. From existential monologues bordering on absurdity to simply watching a cinematic force at work, worth the price of the admission. What one isn't expecting and finds quite delightful is many scenes of natural beauty within the jungle context.
With Insignificance (1985) out from Criterion last week (see the roundup), The Man Who Fell to Earth (1976) opening at Film Forum in New York
“Sin sueños seriamos como vacas en el campo, y yo no quiero vivir de esa forma. O vivo mi vida o termino con ella con este proyecto”
Con estas palabras Werner Herzog… read review