Background
Herzog, Werner was born on September 5, 1942 in Munich. Son of Dietrich Herzog and Elizabeth Stipetic.
( “Hypnotic….It is ever tempting to try to fathom his res...)
“Hypnotic….It is ever tempting to try to fathom his restless spirit and his determination to challenge fate.” —Janet Maslin, New York Times Werner Herzog (Grizzly Man) is one of the most revered and enigmatic filmmakers of our time, and Fitzcarraldo is one of his most honored and admired films. More than just Herzog’s journal of the making of the monumental, problematical motion picture, which involved, among other things, major cast changes and reshoots, and the hauling (without the use of special effects) of a 360-ton steamship over a mountain , Conquest of the Useless is a work of art unto itself, an Amazonian fever dream that emerged from the delirium of the jungle. With fascinating observations about crew and players—including Herzog’s lead, the somewhat demented internationally renowned star Klaus Kinski—and breathtaking insights into the filmmaking process that are uniquely Werner Herzog, Conquest of the Useless is an eye-opening look into the mind of a cinematic master.
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(Union Deutsche Verlagsgesellschaft. Stuttgart . 1896. 18 ...)
Union Deutsche Verlagsgesellschaft. Stuttgart . 1896. 18 cm . 456 p. Encuadernación en tapa dura en tela editorial estampada. Idioma alemán .. Este libro es de segunda mano y tiene o puede tener marcas y señales de su anterior propietario. Cubierta deslucida.
http://www.amazon.com/gp/product/B009IIRS9Q/?tag=2022091-20
Herzog, Werner was born on September 5, 1942 in Munich. Son of Dietrich Herzog and Elizabeth Stipetic.
A student of literature and theatre, Herzog was at the University of Pittsburgh and worked briefly in American TV.
An enthusiastic traveler, he began with several shorts and documentaries before making his first feature in 1967. Signs of Life is a title and film that predicts Herzog’s work. Ostensi¬bly a Second World War picture, it is far more an allegory that deals with the hopeless and tragic- struggle between social forms and the rebellious individual’s self-assertion, between order and life. Its situation is that of a young German soldier on a Greek island whose self-destructive standing out against the army is less local than mythological.
It was immediately clear that Herzog possessed a quick sense of narrative; a withdrawn, mobile camera: and a dark, inquisitive humor. All these characteristics were concentrated in the apocalypse of Even Dwarfs Started Small, a pungent and brutal parable about an institution of dwarfs that turns against its governor. The grotesqueness of the dwarfs becomes as apt a comment on the waiped nature of mankind as, say, the school authorities in Zero de Conduite or the pillars of society in L’Age d’Or.
This was followed by the extraordinary Fata Morgana, filmed entirely' in the Sahara and based on an Indian creation legend. Once again, desert is a model for mankind. The film is in three sections: the first showing an unpeopled, beautiful wasteland; the second introducing signs of human wreckage; and the third showing wretched vestiges of life. Totally imaginative, it is a legend of life at extremes that exposes the fatuity of 2001. Whereas Kubrick glibly assumes some all-powerful, riddle-making consciousness behind the universe, Herzog’s creator is as fallible, quirky, and uncertain as man himself. The camera style for Herzog is the steady source of reason, simultaneously describing the beauty and the madness of the desert.
Land of Silence and Darkness is a feature- length documentary about a middle-aged German woman, deaf and blind, who tries to help fellow- sufferers. Herzog avoids sentimentality and uses the handicapped people—as he does dwarfs and the desert—to bring out the primitive, incommunicable nature of people. The film catches that sense of dangerous, private freedom alluded to by Arthur Penn in The Miracle Worker. Most strikingly, the elements of documentary—the real German, actual sufferers—are subsumed by the larger idea of man’s being his own handicap. In this film, Herzog established how far he stood apart from socialist cinema in Germany; he stressed the innately damaged quality of man as being natural, essential, and insuperable. That said, the liberated experience of the band of handicapped people is often verv touching and exciting, but in the way that the dwarf community bristled with its own flawed nature.
Not to settle or become labeled, Herzog went to Peru to make Aguirre, about a band of conquistadors in search of El Dorado. Herzog’s reserved, observant stvle easily adapts to adventure and epic locales, and the film is paced with exciting action sequences. But its subject is turned to a Herzog extreme: Aguirre’s band becomes increasingly wild, destructive, and pathological, as if the South American setting were reverting to desert and the animal humans destroying themselves. Again one recollects the Bunuel of L'Age d’Or, but Herzog has made a vivid identification with Aguirre, a psychotic optimist who ends cast adrift on a raft with dead men and living apes. The film was all the more powerful (and conventional) because of Herzog’s first real identification with an actor—the willful, manic Klaus Kinski.
As attention fell on Herzog, so his pursuit of extremism became a little more studied; it began to seem more zealous than natural. But Kaspar Hauser was one of his best works; La Soufrière was a magnificent deadpan (or deadcone) joke; and Stroszek, for all its failure, sees America as part of the kingdom of silence and darkness.
Herzog pictures were events in the seventies, but they have become very hard to see. Fitzcarraldo was the last film to get wide screenings. Its story of opera in the jungle and a boat being carried over a mountain was effective, but it came close to being a parody of Herzog. And that w'as the close of the partnership Herzog had had with Klaus Kinski. So he lost the actor, yet he has never nm out of mountains, remote locations, and epictrials of will. Perhaps the sameness has affected Herzog. Going too often to extremes can turn the remoteness into a habit. Herzog lives in California now, and he has great dreams—of a big feature film about Cortes and Montezuma. But lie has to follow stricter economies, and a lot of his recent films have been personal documentaries. Several are haunted by music—bells in religion; opera— hut always the subject of ecstatic/perilous experience pulls at Herzog. He is not the ideal documentarian. You feel he has his mind made up about so many things—and so you do not always want to trust what you are seeing. Grant, too, that one of these documentaries concerns Klaus Kinski—who would, certainly, have had things (and curses) to add. The saddest thine of all is Invincible, a fable about magic under the Nazis, that falls like lead on the screen.
(Union Deutsche Verlagsgesellschaft. Stuttgart . 1896. 18 ...)
(Set of Lobby Cards for film.)
(Book by Herzog, Werner)
(Book by Herzog, Werner)
(Book by Herzog, Werner)
(Press Kit for film.)
( “Hypnotic….It is ever tempting to try to fathom his res...)
(1)
Producer, writer, director (films) Signs of Life, 1968 (Silver Bear award, Berlin International Film Festival), Even Dwarfs Started Small, 1970, Fata Morgana, 1971, Aguirre, the Wrath of God, 1972, The Enigma of Kaspar Hauser, 1974 (Silver Palm award, Cannes International Film Festival, 1975), Heart of Glass, 1976, Stroszek, 1977, Nosferatu the Vampyre, 1979, Woyzeck, 1979, Fitzcarraldo, 1982 (Best Director award, Cannes International Film Festival, 1982), Where the Green Ants Dream, 1984, Cobra Verde, 1987 (Bavarian Film award for Best Producing, 1987), Scream of Stone (only film not written by Herzog), 1991, Lessons of Darkness, 1992, Invincible, 2001, The Wild Blue Yonder, 2005, Rescue Dawn, 2007. Director: (films) Bad Lieutenant: Port of Call New Orleans, 2009. Producer, writer, director (documentaries) Land of Silence and Darkness, 1971, The Great Ecstasy of Woodcarver Steiner, 1974, Echoes From a Somber Empir, 1990, Bells from the Deep, 1993, Little Dieter Needs to Fly, 1997, My Best Fiend, 1999, Pilgrimage, 2001, Wheel of Time, 2003, The White Diamond, 2004, Grizzly Man, 2005 (Alfred P. Sloan prize, Sundance Film Festival, 2005, Best Non-Fiction Film, New York Film Critics Circuit, 2005, award for Outstanding Directorial Achievement in Documentary, Directors' Guild of America), Encounters at the End of the World, 2007 (Best Documentary, Edinburgh International Film Festival, 2008), (television films) The Flying Doctors of East Africa, 1969, Handicapped Future, 1971, How Much Wood Would a Woodchuck Chuck, 1976, God's Angry Man, 1980, Huie's Sermon, 1980, The Dark Glow of the Mountains, 1984, Ballad of the Little Soldie, 1984, Wodaabe - Herdsmen of the Sun, 1989, Jag Mandir, 1991, The Transformation of the World Into Music, 1994, Gesualdo: Death for Five Voices, 1995, Wings of Hope, 2000, film appearances include Man of Flowers, 1983, Bride of the Orient, 1989, Hard to Be a God, 1990, Tales from the Opera, 1994, What Dreams May Come, 1998, Julien Donkey-Boy, 1999, Incident at Loch Ness, 2004, Mister Lonely, 2007, The Grand, 2007, numerous appearances in opera and theatre.Author: (books) Of Walking In Ice, 1981, Fitzcarraldo: The Original Story, 1983.
In 1965, it would not have been credited that West Germany might hold a leading place in radical filmmaking. Perhaps it was the specially clotted character of German movies, and the rigid industrial setup, that provoked the German outburst that followed. With Alexander Kluge and Volker Schlondorff as harbingers and very valuable support. West Germany became the base for exceptional directors: Rainer Werner Fassbinder, Jean-Marie Straub, Wim Wenders, and Werner Herzog.
Married Martje Grohmann, 1967 (divorced 1987). 1 child Rudolph Amos Achmed. Married Christine Maria Ebenberger, 1987 (divorced 1994).
1 child Simon; Married Lena Pisetski, 1999. 1 child Hanna Mattes.