Aguirre, der Zorn Gottes Aguirre, Wrath of God, 1972 (West Germany) 93min
32 歲的 Herzog 與 48 歲的 Klaus Kinski, 我愛狂人 !
無法形容看完 “天譴” 之後的震撼. 雖然看 “史楚錫流浪記” 的時候就可以感受到荷索的 “狂”, 但是他的這部國際成名作 才是讓我目瞪口呆, 背棘發涼, 定在銀幕前動彈不得. 我超愛 Popol Vuh 跨刀所做的配樂, 一開頭征服者與被俘虜的印地安人走在陡峭的印加古道那段, 就把我的專注力完全吸引過去了.
( 原子映象 ) 關於影片：荷索根據歷史事件創造這起充滿寓意的自我毀滅，十六世紀歐洲殖民者侵略美洲的冒險成了激情孤絕的狂人行徑。為了拍出真實感，荷索讓近五百位工作人員翻山越嶺拍攝，揣摩遠征隊的希望和無望，其間的辛苦甚至讓他和男主角克勞斯金斯基發生爭執，雙方用手槍互抵腦袋才拍完全片。
本片中克勞斯金斯基飾演專橫暴戾的西班牙探險者，自命「天譴」的化身，催眠般的表演讓人驚嘆。荷索說金斯基以自我為中心的性格恰好就是片中男主角的個性。以狂爆聞名的金斯基，在本片的表演卻出奇冷靜，有偏執狂的堅毅與自信，其間閃爍些許駭人氣息，像火山爆發前不祥的安寧。當年楊德昌便因為受到《天譴》的感動，而放棄優渥的工程師工作，踏上電影創作之路。
The Guardian review
And Kinski himself is remarkable. Not nearly as hammy as you might expect, he radiates insane power, cruelty, cunning and charm simply by standing there, a ghostly madman’s smile playing about his lips, pale china-blue eyes gleaming. Like a shaman or supernatural mystic-artist, he projects his crazed Weltanschauung out on to the landscape, in which he sees only opportunity for wealth and fame.
Kinski 不用演戲本身就是電影中的狂人啦 ~ Aguirre 無比狂傲的世界觀.
Like most of Herzog’s movies, it’s about madness, not just in a single individual but in a society that has spun out of control through losing contact with nature. And it ends up with the unforgettable concluding image of the demented Aguirre, the second-in-command and only survivor, striding around on a drifting, water-logged raft, ranting about his grandiose plans with only a bunch of chattering monkeys to hear him. This could be Hitler’s Germany, or perhaps the whole Western world.
最後一幕讓人起雞皮疙瘩, 希特勒 / 西方社會 / 人類文明的寓言.
A key moment of surreal light-headedness comes when Aguirre and his delirious men see a ship suspended in the branches by the river bank. Could the flood water have got so high? Surely it is a mirage? Aguirre immediately plans to bring the ship down. Like the river-boat hauled over the mountain in Fitzcarraldo: that ship’s position defies every axiom of common sense; it is monumental, magnificent, a folly, incomparable in its scale and absurdity. Coupled with Kinski’s red-blooded acting, there is the exhilarating chutzpah with which Herzog flings the camera around, culminating in a swooping circular shot of Aguirre’s wrecked raft. Is Aguirre mad? Was Kinski? Was Herzog? Yes, yes, and yes – and this is not to be missed.
不該出現在樹梢的小船, 荒謬的最高境界, 最後的猴子群, 360 度旋轉鏡頭, Aquirre / Kinski / Herzog 通通瘋了 : )
Senses of Cinema ( 談到荷索電影中主角的原型 )
… Herzog’s fictional features are often shot like documentaries (always on location), leaving purely aesthetic concerns behind; as with his documentaries, historical and political facts are only loosely adhered to, for he always digs beneath the surface facts of history to find the “ecstatic truth”
… Aguirre is a quintessentially Herzogian (anti-)hero, encompassing both the “over-reacher and prophet or underachiever and holy fool”, put in bizarre locations and situations “often in order to let a strange and touching humanity emerge from impossible odds” . Aguirre’s mission becomes a quixotic, even existential exercise in absurdity, especially as he proclaims himself superior to the laws of nature – though not without nature’s final retribution.
Elsaesser notes that Herzog’s heroes – “solitary rebels, incapable of solidarity but also incapable of success” – typically exist in an ontological void due to their determination to investigate the limits of what it means to be human; from one film to another, they oscillate between being super-human and sub-human characters, both types being dialectically linked via an eventual shared failure “that redeems their vaulting ambition and their hubris”
