A drunk soccer player reportedly vomited on Herzog's typewriter rendering many of the pages he was working on useless and he couldn't remember what he wrote, so he ended up throwing them out a window. Had he decided to keep those pages in his final draft, (which he apparently spent a whole 2.5 days on since he's that brilliant,) they would have added some much needed improvement to the finished film.I have watched my fair share of art house and had been looking forward to checking out Aguirre for some time, but I call bs on this.I read a review where a guy described this film as "intense." I mean, what kind of life are you living if an intense experience is sitting through this movie?

German director Werner Herzog is one talented film-maker, with some of his films among the finest of German cinema. Meanwhile, one of his most frequent collaborators Klaus Kinski was a somewhat larger than life actor in terms of screen presence with a seamlessly commanding if at times wild style of acting.Having heard nothing but good things about 'Aguirre Wrath of God' and finally getting back on track with my film watching, it was at long last viewed. Whether it is the best Herzog/Kinski collaboration is up for debate, to me it's among the best. It is still a crowning achievement for both Herzog and Kinski and a fine example of German cinema. No matter how much it has divided audiences it cannot be denied how much effort went into 'Aguirre Wrath of God', especially with its troubled production behind the scenes.'Aguirre Wrath of God' is quite brilliantly made. The cinematography and editing may not be some people's definition of "beautiful, but they are still impeccably crafted and enhance the harrowing atmosphere magnificently. Every bit as impressive is the locations and how they are used. Having real life locations rather than studio sets gave the film so much realism, and they are both stunning and atmospheric. The music is sometimes sparse but when used pretty haunting.Typically Herzog directs splendidly, delivering on the substance as well as the style. The script is largely improvisational but it is remarkable that it still flowed surprisingly well. 'Aguirre Wrath of God' is not a long film and it's paced in a way that while deliberate and nuanced one never feels every second or minute. Instead if in the right mood or taking the film for what it is and what it set out to do one gets swept up by the shocking power and poignancy of what is depicted.On top of all this, the acting is remarkable, considering the conditions and that the script was written in haste and apparently the actors weren't even permitted to see it, let alone read it. There is not a single weak performance but it is Kinski who dominates the cast and the film, a powerful and chilling performances that burns long in the memory. Not a subtle performance by any stretch but the role (which is a deliberately eccentric one, a trademark of Herzog being having eccentric character in difficult conditions) and the film didn't call for subtlety really.In conclusion, a crowning achievement in every regard. 10/10 Bethany Cox

demonstration of the work , based on strange, disturbing war between a great director and a special actor. a historical film who use the past as reminder of basic sins, deep solitude, portrait of ambition fruits. a kind of Shakespeare and Greek tragedy. cruel, honest, beautiful. fresco of madness. and Klaus Kinski. out of script or scenes or dialogues. himself as a story of fury and desire and isolation in the womb of his truth. Aguirre is more than a good /impressive/terrible / great film. it is a struggle. not surprising. but useful for discover a manner to transform history as a large mirror of the essence of humankind. and this does Aguirre, the Wrath of God in a story about limits of dream. one o the most convincing.

If Werner Herzog had made the decision not to make "Aguirre, the Wrath of God", the Francis Ford Copolla's "Apocalypse Now", the greatest war movie ever produced, will not be with us today. This is the first of many collaborations between director Werner Herzog and actor Klaus Kinski and probably acted as the feat which rocketed Kinski to world's attention. Shot with a simple 35mm camera, and equipped with low budget, "Aguirre" is another proof that a film needs not to pretend to be grandiose, and yet be revered and remembered. Although Herzog proclaimed that the story inspired by a book devoted to Lope De Aguirre (a real-life 'Aguirre') is mostly fabrications, historians confirmed that there are events in it which really did happen during the conquest in the 16th century.The movie begins with groups of Spanish Conquistadors (a.k.a. Spanish conquerors) marching down mountains to search for the city of El Dorado. El Dorado is a mythical city; which had been falsely believed that it was occupied with riches of gold. Blinded by greed, these European colonisers could not deny its existence, and set off for the discovery of the city, but to only realise afterwards that the heinous expedition brings not wealth upon them, but only destruction.This is uncommon, but the element which induces the movie's immersive cinematic experience is its music. Right from the beginning, there is something subtle in its score, which I care not to explore, that brings forward ordinary attentions. Herzog's masterful direction in its visual images just further complemented it.Kinski's Aguirre will largely be remembered as a villain for his betrayal and ruthless leadership. But Aguirre, despite his villainous antics and stuff, actually rebels a side that is arrogant and oppressive, instead of a band of people that are honourable, decent and respectful. We all know that the armed-Spanish, when set foot on those South American lands, actually did colonise them, and that is not too bright morally. I believe that, rather interpreting Aguirre as the bad guy like how movie history depicts, it would be more interesting to observe him as a judgement call for the wrongdoings that possibly had been done by the Spanish occupiers. The closing scene where Aguirre is seen to be the only one alive while everyone is dead, just accentuated him as a metaphorical figure.If Kinski had not played the title character, would this picture be still relevant as it is today? I am doubtful if he was merely being himself or not while playing Aguirre but who cares; his depiction as the insane Spanish 'villain' is perfectly fine. Kinski put up genuine intimidation for a man who is cunning, selfish and cold. No matter how strained the relationship between Kinski and Herzog during the filming phase was, their collaboration for the movie is indeed essential.The portrayal of a man seeking for his own destruction is absolutely spot-on. To be able to conquer the city of El Dorado, and exploit its wealth is a short-cut to success. The Spanish, with all their power and sophistication, would had believed that their goals will be fulfilled with ease, even if there is no solid evidence proving the existence of the mentioned city. It seems to me that the sense of superiority has an insidious impact on them, or us in general. Coppola's "Apocalypse Now" is undeniably a more polished picture, but its roots for inspiration which is Herzog's "Aguirre", is a staggering masterpiece of minimalistic and honest cinema.(Cinematicmadness.blogspot.com)