Fitzcarraldo (1982)

User Rating:

8.0/10   

Director:

Werner Herzog

Writer:

Werner Herzog (writer)

Release Date:

10 October 1982 (USA)

Genre:

Adventure | Drama | Music

Plot:

The story of Brian Sweeney Fitzgerald, an extremely determined man who intends to build an opera house in the middle of the Peruvian jungle.

Plot Keywords:

Opera | Jungle | Mountain | River | Amazon

Awards:

Nominated for Golden Globe. Another 4 wins & 2 nominations

Cast

Klaus Kinski	...	Brian Sweeney Fitzgerald - 'Fitzcarraldo'
Claudia Cardinale	...	Molly
José Lewgoy	...	Don Aquilino
Miguel Ángel Fuentes	...	Cholo
Paul Hittscher	...	Captain (Orinoco Paul)
Huerequeque Enrique Bohorquez	...	Huerequeque (The Cook) (as Huerequeque Enrique Bohórquez)
Grande Otelo	...	Station master (as Grande Othelo)
Peter Berling	...	Opera Manager
David Pérez Espinosa	...	Chief of Campa Indians
Milton Nascimento	...	Blackman At Opera House
Ruy Polanah	...	Rubber Baron
Salvador Godínez	...	Old Missionary
Dieter Milz	...	Young Missionary
William Rose	...	Notary (as Bill Rose)
Leoncio Bueno
rest of cast listed alphabetically:
Isabel Jimines de Cisneros	...	Opera Singer (uncredited)
Jean-Claude Dreyfus	...	Opera Singer (uncredited)
Jesús Goiri	...	Opera Singer (uncredited)
Veriano Luchetti	...	Opera Singer (uncredited)
Lourdes Magalhaes	...	Opera Singer (uncredited)
Christian Mantilla	...	Opera Singer (uncredited)
Costante Moret	...	Opera Singer (uncredited)
Dimiter Petkov	...	Opera Singer (uncredited)
Mietta Sighele	...	Opera Singer (uncredited)
Liborio Simonella	...	Opera Singer (uncredited)

Directed by
Werner Herzog

Writing credits (in alphabetical order)
Werner Herzog		writer

Produced by
Werner Herzog	....	producer
Renzo Rossellini	....	associate producer
Walter Saxer	....	executive producer
Willi Segler	....	producer
Lucki Stipetic	....	producer

Original Music by
Popol Vuh

Cinematography by
Thomas Mauch

Film Editing by
Beate Mainka-Jellinghaus

Production Design by
Ulrich Bergfelder
Henning von Gierke

Costume Design by
Gisela Storch

Makeup Department
Gloria Fava	....	hair stylist
Gloria Fava	....	makeup artist
Stefano Fava	....	hair stylist
Stefano Fava	....	makeup artist
Jaque Monteiro	....	assistant makeup artist
Carlos Prieto	....	assistant makeup artist

Production Management
Gustavo Cerff Abulu	....	production manager: Peru (as Gustavo Cerff Arbulú)
George Sluizer	....	production manager: Brazil

Second Unit Director or Assistant Director
Fred Confalonieri	....	assistant director: Brazil (as Frederico Confalonieri)
Jorge Vignati	....	assistant director

Art Department
César Vivanco Luna	....	construction: Camp Rio Camisea
Jaíme Mourõa Rios	....	construction: Indin camp
Victor Trigoso	....	construction: Camp Rio Camisea

Sound Department
Juarez Dagoberto Costa	....	sound (as Juarez Dagoberto)
Zezé d'Alice	....	sound (as Zezé D'Alice)

Special Effects by
Miguel Vázquez	....	special effects

Camera and Electrical Department
Rainer Klausmann	....	second camera
Beat Presser	....	assistant camera
Beat Presser	....	still photographer
Hans-Peter Vogt	....	lighting technician
Raimund Wirner	....	lighting technician

Costume and Wardrobe Department
Franz Blumauer	....	assistant costume designer
Elisabeth Irmer	....	assistant costume designer
Rosemary Kaye	....	assistant costume designer

Editorial Department
Linda Kuusisto	....	assistant editor
Carola Mai	....	assistant editor

Transportation Department
Tercero Efraín Panaifo Indama	....	tractorist

Other crew
Pedro Natorce Ahuanari	....	boat crew
Dr. Tomás Parraga Aliaga	....	medical staff
Walter Pinedo Alvarez	....	boat crew
Claire André	....	production secretary: Peru
Eglington Ayarza Boulloza	....	technical advisor
Pedro Padilla Chota	....	boat crew
Guardamino Benigno Paucar	....	technical advisor
Victor Tello Pinedo	....	medical staff
Nancy Rios	....	production secretary: Peru
William Rose	....	dialogue director (as William L. Rose)
Anja Schmidt-Zäringer	....	script
Werner Schroeter	....	opera director: stage scene
El Tigre Carlos Calvo Soria	....	forest worker
René Baneo Vazquez	....	boat crew
Rachel Griffiths	....	script supervisor (uncredited)

Thanks
Les Blank	....	special thanks
Miguel Camateiri Fernandez	....	thanks
Nicolás Camateiri Fernandez	....	thanks
Pascual Camateiri Fernandez	....	thanks
Peter Matthiessen	....	special thanks
Joseph D. Peckerman	....	special thanks
David Pérez Espinosa	....	thanks
Sam Shepard	....	special thanks
José Koechlin von Stein	....	special thanks: idea

Production Companies

• Filmverlag der Autoren
• Pro-ject Filmproduktion
• Tayrona Entertainment Group (as R.O.E.)
• Werner Herzog Filmproduktion
• Wildlife Films Peru
• Zweites Deutsches Fernsehen (ZDF)

Distributors

• Hemispheric Pictures (2005) (USA) (theatrical)
• 518 Media (2005) (USA) (theatrical)
• Ipma (2005) (Brazil) (theatrical)
• New World Pictures (2002) (USA) (theatrical) (subtitled)
• Altomedia. Co. Ltd. (Korea) (DVD)
• Altomedia. Co. Ltd. (Korea) (VHS)
• Anchor Bay Entertainment (2008) (USA) (DVD)
• Artificial Eye (UK)
• Kinowelt Home Entertainment (2003) (Germany) (DVD)
• Palace Video (1982) (UK) (VHS)
• Palace Video (1982) (UK) (video) (Betamax)
• Ripley's Home Video (2005) (Italy) (DVD) (boxed set)
• Transvídeo (Brazil) (VHS)
• Umbrella Entertainment (2004) (Australia) (DVD)

Other Companies

• Ashininka-Campa Indians  thanks
• Servicio Industrial de la Marina Iquitos (SIMAI)  ship construction

Runtime:

158 min

Country:

Peru | West Germany

Language:

English

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Mono

Certification:

Iceland:L | Finland:K-12 | Norway:12 | Sweden:11 | UK:PG (re-rating) (1986) | USA:PG | West Germany:12 (bw) | Canada:G (Quebec) | Canada:PG (Ontario) | Australia:PG

Filming Locations:

Amazon Basin, Brazil

Company:

Filmverlag der Autoren

Trivia:

Director Werner Herzog destroyed all the footage of Jason Robards and Mick Jagger (Herzog has said that he never keeps the outtakes and unused footage of all of his films). When he wanted to use some of that footage in his film Mein liebster Feind - Klaus Kinski (1999) (My Best Fiend - Klaus Kinski)), there remained only what had been included in documentarian Les Blank's film Burden of Dreams (1982).

Goofs:

Crew or equipment visible: During one of the boat drifting scenes, crew members can be seen at the top of the boat, including a man wearing jeans who tries to avoid being spotted by the camera.

Movie Connections:

Featured in Incident at Loch Ness (2004)

Soundtrack:

Opera on board

the most operatic documentary-style epic ever made- fearlessly unique

The story of Brian Sweeney Fitzgerald, aka Fitzcarraldo, is as much the story of his magnanimous pie in the sky ideal to push a boat over a mountain as it is Werner Herzog's own mission to film it. More than a mission- as anyone who saw Burden of Dreams can report- an obsession that might cost a few lives, a good deal of money, and bring a lot of strange first-hand looks at the lives and mind-sets of the natives, but will still bring the greatest of wonders if it gets pulled off. The boat over the mountain is part metaphor, anyway, though not one that's easily pegged into a corner. Achieving something against the odds is something that has been covered in many great films, a quest through man's indelible need to make the impossible possible, be it in a David Lean picture ala Lawrence of Arabia, or in one of Cecil B. DeMille's pictures (and, at times, I wondered if the spirit of one of those old time epic filmmakers came into his mind, if only in bits).

All the while as Herzog is out to map the course of this man who just wants the purity of opera in the jungle, but through a style that is completely all his own, which means that it's not just about one man, but also about the ones around him, the methods to following such delusions of grandeur. Like Aguirre, there's a God complex working in Fitzcarraldo, only this time it's not in the total shroud of madness. There's room for irony, spouts of wild humor (sometimes from Kinski, like when he tries to play an opera record for disinterested party-goers early on in the film), and an overwhelming fascination with what's all around Fitzcarraldo, the jungle, nature, the natives that dwell there and always stick to their indeterminable ways. Watching how Herzog maneuvers through his bulky story is ceaselessly compelling, even in the moments where he just lets the camera take everything in: the waves crashing all around, the boat set against the jungle-scape with the opera singer Caruso in the background, the many faces and poses of the natives and their moments of pure calm versus their unpredictable nature (why do they put on face paint like they're about to go to war, and then nothing happens, don't ask me).

And like in many of his best films, Herzog manages to get much more out of his actors/non-actors and his locations than it might have seemed on paper. Poetry gets set into motion with seemingly the greatest of ease, like a scene where a few natives on a small canoe look on, and Fitzcarraldo thinks about stopping, but they just go on as it's not even worth it, or when he and his first-mate and couple other regulars on the ship try to eat, only surrounded by the natives. Or the shocking moments when after victory seems to be achieved, all is in peril as the boat flaps about on the river and the recording still goes on and on, haunting as anything the jungle can compare to. Indeed, the jungle itself becomes another key part of Herzog's metaphor, even more so than in Aguirre, and it's perfectly exploited (or rendered, depending on point of view) for Herzog's own feelings about the jungle. It's an environment dangerous, alluring, and with the capacity to fear its awesome mass as well as beauty (or, as Herzog said in 'Burden', it's lovable against better judgment), so it's not all taken in at a distance- there isn't so much a real sense of escapism via the hand-held shots unlike in the epics of the directors previously mentioned. Fitcarraldo's own quest then is against nature's own ways- nature is objective and always the same- as the simple notion of moving the boat, and then doing it, goes against nature's true nature, if that makes sense.

In this sense it's a great film of the objective, to which Herzog goes to lengths to capture, *and* the fantastical and subjective, which comes through the operatic portions, and not be bound by nature's usual ways and common sense. Thus it makes perfect sense as well to have Kinski along for the ride, even if it's not his greatest achievement with his most frequent director. It's all in the eyes, practically every step of the way, that one believes this man even through all of the follies and naive flights of fancy, and it's the closest Kinski probably ever came to playing the romantic lead of an adventure picture. Some of the usual scenes of 'damn he's nuts' come up, like his ringing of the town bell. It's another in the line of outcasts he played in Herzog's films, tormented and always in craving for something more, though this time not in a bleak manner. There is the problem that Kinski's presence would be undermined by the many "adequate" images Herzog loves to achieve. Luckily, he stands his ground, and even contributes to the poetry in times of just listening to the Caruso, and gazing on at his dream coming true on the mountainside.

Fitzcarraldo isn't perfect by any means, as it ends up by way of the nature of Herzog's storytelling to almost tell of too much in his scenes. And the English language track I heard sometimes dilutes a few of the performances by feeling too dubbed and a little ridiculous in some instances. But these are just tiny mentions that get overlooked when looking at the success of what is done. Only a director as intelligently deranged and confident as Herzog could have dreamed up this film (based on a true character) and make it as real and alive as the greatest of epic adventures.