By Werner Herzog
Werner Herzog (Grizzly guy) is likely one of the so much respected and enigmatic filmmakers of our time, and Fitzcarraldo is certainly one of his so much commemorated and sought after motion pictures. greater than simply Herzog’s magazine of the making of the huge, challenging movie, which concerned, between different issues, significant forged adjustments and reshoots, and the hauling (without using lighting tricks) of a 360-ton steamship over a mountain , Conquest of the lifeless is a piece of paintings unto itself, an Amazonian fever dream that emerged from the delirium of the jungle. With interesting observations approximately team and players—including Herzog’s lead, the a little bit demented the world over well known famous person Klaus Kinski—and breathtaking insights into the filmmaking approach which are uniquely Werner Herzog, Conquest of the dead is an eye-opening inspect the brain of a cinematic grasp.
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Extra info for Conquest of the Useless: Reflections from the Making of Fitzcarraldo
There are several things about the movie which argue it as a unique and conscious art, the opposite of a puzzle; or at least, no more of a puzzle than those modern paintings of which a spectator may be heard to say: "But what is it? " My opinion is that the last thing required for the elucidation of Rashomon's mystery is something corresponding to a jury's verdict. Such a judgment, aesthetically speaking, is as inutile for appreciating the substance of this movie as for appreciating the art of Picasso.
The Marienbad film is highbrow camp; certain Pop artists and the better Hollywood buffs propagate middlebrow camp; the movie Harper is, flatly, lowbrow camp. Those who have regard for life as a serious quantity must assert that, among these, the only object worth criticism as an art is that representing highbrow camp. 35 Rashomon as Moe/ern Art 36 Rashomon, the Japanese film masterpiece, is a story about a double crime: rape and homicide (or possibly suicide). D. It is told in retrospect, and in successive layers, by the three participants, the dead warrior (through a mediumistic priestess), his raped wife, and a notorious bandit perhaps responsible for the warrior's death as well as for his wife's violation, and by a woodcutter who alleges himself to have witnessed, accidentally, the whole episode.
But it is, they think, a matter of the motion picture as classifiable with painting or sculpture! Mainly, this is to rely on an insidious concept of antiquated date: the movies as a sort of painting and/or sculpture in motion. In brief, it is to assume Richard Wagner's grand synthesis of the arts transported to the film studios and ipso facto an accomplished fact (musical score by so-and-so). But because Wagner's reputedly "filmic" stage directions are followed today, at Bayreuth, by the projection of film during his operas, does not supply the necessary proof.