Probably one of the most unethically made movies ever, but it is undeniably a spectacle worthy of study. The movie is incredibly real with its use of numerous extras and the real problem of getting that steamship across the mountain. Kinski's bell tower screaming, revenge threats, and agape love for the opera make up one of those all time great performances ( even though Kinski was a complete fucking piece of shit).
Further reading into the actual production may be required just on how similar the story is and the actual effort of filming the thing was. That boat was really hauled up a hill, no special effects. Also Fitzcarraldo is an interesting person on his passion for opera which keeps the intrigue going for the films final act, I was actually expecting a Cannibal Holocaust ending with the way the natives just help him out.
One of the most inspired ventures in film history with images indelibly inscribed into the collective cinematic consciousness. (What a creatively insane idea to lift the steamboat over a hill in the jungle!) As always, Kinski energizes the screen with a commanding presence of a 'benign' colonialist seer who orchestrates a symphony of labor and art in making his vision possible. A megalomaniac and redeeming epic!
Sehr beeindruckendes Werk - fast schon konservative Filmkunst für Werner Herzog - überragende schauspielerische Leistung und Regie. Sonderbar fand ich allerdings wie häufig sich der Blick mancher Darsteller in die Kamera verirrt hat - das ist mir so auch noch nie woanders in dem Maße aufgefallen.
Herzog is a fine cynic. His observations about humankind's stridency have much more heart and soul than this film about the size of one's vision and a quest for satisfaction. Long-winded and winding, Fitzcarraldo, doesn't often move around emotions or create characters that you admire/root for/hate. I wish Herzog was sympathetic to, or vexed, Kinski's character, instead of having a detached observation from.
60/100 --- Muhteşem mesaj, saçmalıklarla dolu senaryo(kızılderililerin müzik etkisiyle bu tipleri tanrı sanması), mesaja ters düşen hareketler(Doğanın büyük oranda tahrip edilmesi-figüranların onlarcasının yaralanması), amatörce diyaloglar... Sonuç olarak ise anti kapitalizm ve sömürgecilik mesajlarının hafızamda yok olması. ---
What interests me in Fitzcarraldo is how Herzog's search for maximalism comes to life without any genuine force. Trying to replicate the hypnotic magic of Aguirre, he created a film that is a testament to his own creative impotence - even his megalomania here is staged, gutless. It smells of seriousness, of sad self-conscience, of fading power: a dull & fake film that pretends to believe in its own "significance".